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					                                                   EDITO
Who said there’s a crisis ? As we celebrate our 150th anniversary,
the Roset Company is unveiling, as we do every year, around sixty
new Ligne Roset pieces at Maison & Objet 2010, created by thirty
or so designers. Each project took months and months, in some cases
years, to come to fruition. All are approached with exactly the same
passion by their designer, by my teams and by myself.

It is with both pleasure and pride that we have the privilege of rubbing
shoulders with personalities as diverse and as talented as Peter Maly,
Philippe Nigro, Inga Sempé, Pierre Charpin or Pierre Paulin, whose
new armchair and rug will be added to our collection this year;
we shall also be re-issuing two of his tables from 1982. And let us
pause a moment, too, to pay particular homage to Pierre Paulin,
who was sadly taken from us in June 2009.

We would also like to thank Emmanuel Dietrich, Peter Maly, Claudio
Colucci, Shigeichiro Takeuchi, Hertel & Klarhoeffer, Didier Gomez,
Soda designer, Pagnon & Pelhaître, Michael Koenig, Dondoli &
Pocci, Angie Anakis, Eric Jourdan, Frédéric Ruyant, Stéphanie Jasny,
Maria Jeglinska, Thomas Bordier-Rodriguez, Loudor design, Nathalie
Dewez, Mathias Hahn, Kensaku Oshiro, Barbara Thompson and
Marie-Aurore Stiker Metral, who have, one and all, made their own
particular mark on the new Ligne Roset collection for 2010.




                                                           Michel Roset
Inga
Sempé
                                                                                                    Upon its slim legs rests a thick mattress with distinctive quilting,
                                                                                                    a kind of boutis stitch or padding made using a cross-hatching
                                                                                                    of interrupted seams. Alternately flattened by the stitches then
                                                                                                    set free, the fabric ‘curls’ in places, giving rise both to its unique
                                                                                                    appearance and to its name, ‘Ruché’ (a gathered or pleated
                                                                                                    fabric which serves as decoration on a piece of clothing). The
                                                                                                    highlights arising from these changes in level are very rich and
‘‘What interests me is not
                                                              RUCHÉ
                                                                                                    their shading varies depending on the fabric used. A plain cloth is
                                                                                                    enriched with reliefs, a velour captures light from every angle…
luxury hotels but ordinary,                                                                         this quilting, simple and finely-worked, was the subject of much
                                                                                                    research and many trials, at the outset on my little sewing
everyday life.’’              We invited Inga Sempé to present to us                                machine at my agency, then in the prototyping shop in Briord, on
                              her latest creation for Ligne Roset,                                  the seamstresses’ professional-grade machines, and finally there
                                                                                                    were tests on the programmed sewing robot with which the
                              the Ruché settee :                                                    settees were to be produced.
                                                                                                    For Ligne Roset, Ruché also brings together the unusual and the
                              ‘‘To design one settee is difficult enough. To design another one     traditional. The unusual thing about this piece is its solid wood
                              for a company for whom you have already designed one - that’s         structure, and the great traditional element: the quilting, the very
                              even trickier.                                                        heart of its savoir-faire. Its rangy uprights and the undulations of
                              After Moël (2007), which belongs to the ‘all-foam’ family of          its duvet combine to produce a harmonious union or rigorous
                              seating, I wanted to take a completely different approach:            straight lines and soft, welcoming curves.
                              a settee lifted from the ground by a simple, fine structure which     Slender and fine, Ruché is nonetheless soft and welcoming. Its
                              supports a comfortable seat.                                          internal structure, its filling materials and its quilting were brought
                              I was, at the outset, inspired by swing seats, the kind of rocking    together and developed with a view to offering great comfort.
                              seats which one brings out in the garden in summertime, made          Since the height of its armrests is the same as that of its back,
                              from tubing and fabric, which possess a lightness I like very much.   one can just as easily sit sideways and stretch out one’s legs: as
                              Like them, Ruché combines rigidity and flexibility, with airy looks   a major refinement, the armrest is mounted on elastic webbing
                              and sparing use of materials.                                         to enable to sitter to lean back in the greatest possible comfort.
                              Ruché’s structure is in solid beech, either stained or natural.       As well as the 2 and 3-seat versions, footstool and classic 1-arm
                              I wanted to offer a version in natural beech: natural wood is         settee, Ruché is also offered in a 1-arm settee version with
                              beautiful, qualitative, authentic; it’s modern, and at the same       integral table surface at the end of its seat.This might accommo-
                              time restful, for it is one of the rare natural elements which one    date a tray, books, a lamp, DVD projector… It is a new departure
                              can have in a living room. The angles of the feet are worked ‘en      which could, for example, enable a narrow room to enjoy the
                              congé’, which both refines them and protects the grain of the         benefits of a low table with no inconvenient loss of space.”
                              wood from shocks.
          Pierre
           Paulin
‘‘At home, I take two broom handles,
                                                                ANNEAU
                                         In 1952, Pierre Paulin designed, for his
lean them against a wall, and make a     own personal use, his first significant piece
ring out of kraft paper. The trick was   of seating : “At home, I take two broom
played, this seat was like a bag.”       handles, lean them against a wall, and make
                                         a ring out of kraft paper. The trick was
                                         played, this seat was like a bag.”

                                         This armchair in mythical leather, produced by Meubles TV in
                                         1954 under the name ‘fauteuil 273’ (also known as ‘Anneau’)
                                         remains one of his most beautiful pieces of seating : a piece
                                         donated by Pierre Paulin himself can be found in the collections
                                         of the musée des Arts Décoratifs, Paris.
                                         A simple ring of taut hide shaped like a bicycle pannier with a
                                         pierced back set on a base made from two rectangles of folded
                                         steel, it was also the forerunner of his famous Ribbon Chair
                                         (1966).
                                         It is in homage to this great designer and by reason of the
                                         distinctive shape of its base that Ligne Roset decided to christen
                                         this new chair, one of his last creations, ‘Anneau’.
                                         The meeting of Pierre Paulin and Michel Roset in 2007 soon
                                         bore fruit in the form of two new creations and six reissues,
                                         amongst which the model Pumpkin, which was directly inspired
                                         by Paulin’s 1971 seating, designed for the private apartments
                                         of Claude and Georges Pompidou at the Elysée Palace. Pierre
                                         Paulin had been working with Michel Roset on a number of
                                         projects when he was sadly taken from us in June 2009.
                                         Of these, Ligne Roset has chosen to bring to the public two new
                                         reissues (Antigone dining table and low table) in 2010, and also
                                         two new creations (Allusions rug and Anneau armchair).
              Peter
              Maly
‘‘Rapid change is the death of every
meaningful development.”




                                                                               TED
                                       Since the 1970’s Peter Maly has designed        perfect for the smaller living space, it could
                                       numerous modern classics. His famous            have been made with city apartments in
                                       Zyklus armchair was designed in 1983 and        mind.
                                       is still in production today, as is the bed     In honour of Ligne Roset’s 150-year
                                       which bears his name, designed that same        anniversary, Peter Maly revisits the idea of
                                       year. It was with the Maly Bed in 1983 that     Prao 25 years later, with the same functions
                                       Ligne Roset embarked upon an intensive          newly reinterpreted in the language of the
                                       collaboration with Peter Maly that still        Year 2010. He has named this new remix
                                       endures today.                                  Ted.

                                       In 1985 Peter Maly designed the Prao settee     Peter Maly: “Ted is a collection of seating which has been
                                                                                       deliberately reduced in terms of its dimensions, and yet still
                                       for Ligne Roset: Prao was the first settee to   remains both extremely comfortable and highly functional. Built
                                       have a completely variable geometry thanks      on an underframe of steel tubing, both its upholstered backrests
                                       to its removable, adjustable back and           and upholstered armrests are invisibly anchored to its metal
                                                                                       frame. All of these may be removed and their positions altered
                                       armrests. This space-saving and extremely       with the touch of a hand. The armrests are movable and may be
                                       functional settee was in production for         adjusted to suit the comfort requirements of the sitter.”

                                       many years and was highly successful:
Pierre                                                                       DESA
   Charpin
                                    Since 1998, Pierre Charpin has been
                                    working with glass in the workshops of
                                    the CIRVA (Centre International de
                                    Recherche sur le Verre et les Arts plastiques)
                                    in Marseille. There, with the help of his
   ‘‘I attempt to convey subtle,    technicians and glass blowers, he created
                                    a collection of glass objects, enigmatic
   tangible ideas which do not go   cylinders which were then put on show at
   hand in hand with immediate      the Musée des Arts Décoratifs de Paris in
   widespread circulation’’.        2001. Following which, the prestigious Venetian house Venini
                                    decided to put into production a collection of his vases. Pierre
                                    Charpin, who in 2000 was also working with ceramics in the
                                    workshops of Vallauris, confirms : “Clay has visual weight. Glass
                                    can have a physical weight, and yet appear weightless.” In 2005,
                                    he was the winner of the ‘concours de la société anonyme
                                    de gestion des eaux de Paris’ : Saint Gobain was to produce
                                    30,000 copies of his glass carafe, which was launched to mark
                                    the ‘Journée de l’eau’ in March 2005. And thus continues Pierre
                                    Charpin, who expertly juggles experimental, gallery-displayed
                                    projects (Kreo, Chez Valentin…) with more industrial ventures.

                                    In both cases, the design of Pierre Charpin is characterised by its
                                    very simplicity, and the harmonious spirit exuded by his creations.
                                    An advocate of ‘low-level design’, he favours a soft, discreet
                                    plastic approach which allows the user absolute freedom to
                                    project their own imagination onto each piece. Thus his most
                                    recent table lamp for Ligne Roset presents itself as a cylinder of
                                    white blown opaline glass, with a powerful yet sober presence.
    Philippe
     Nigro
‘‘In Italy, companies establish their
histories on the basis of contact with
designers, and vice versa. In this
respect I would say that Ligne Roset
is the most Italian of all the ‘entre-
prises hexagonales’.’’




                                                                                                       T.U.
                                         Innovation in the field of design may be                              questions the relationship between design and the environment.
                                                                                                               In the case of his Confluences seating, one remembers that this is
                                         considered from a variety of standpoints.                             a detailed study of the customs and lifestyles which led to a real
                                         Could it, perhaps, boil down to the simple                            revolution in terms of forms. In the case of the T.U. table, leaving
                                         creation of objects? Must it be appreciated                           aside the requirements for personalisation and dimensional
                                                                                                               adaptability which are more or less universal, its functional
                                         solely from a formal standpoint, in terms                             and aesthetic innovativeness is the fruit of comprehensive
                                         of its aesthetic merit ? Or on the contrary,                          environmental reflection: the very quality of the base enables
                                                                                                               the user to ‘recycle’ any kind of top which he or she may already
                                         from a purely functional point of view,                               possess, such as a top formerly belonging to old trestles, a
                                         in terms of its usage?                                                reclaimed slab, an old door panel…and if the acquirer of a T.U.
                                                                                                               table should choose one of the tops offered by Ligne Roset,
                                         Quite apart from all these aspects, which to the mind of Philippe     they will ultimately be able, should it become damaged or simply
                                         Nigro are often indissociable, his creative approach to the feet of   fall out of favour, to replace it easily with any other Ligne Roset
                                         the model T.U. (Table Universelle, or ‘universal table’) also         top, or with a top from anywhere else.
                                                                                                                                                        New
SOFAS                                                                                                                                               Products 2010



                 CONCEPT: Having graduated from the Ecole Nationale Supérieure de Création Industrielle in 1993,
                 Inga Sempé took the decision to work independently in 2000. A pupil at the Villa Médicis (Académie de
                 France) in Rome from 2000 to 2001, she went on to take on projects for Cappellini, Edra, Luce Plan, Baccarat…
                 and, from 2006, Ligne Roset.
                 Her independence, which often borders on impertinence, her practical rigour and poetic demands confer
                 on each of her creations an undeniable air of ‘jamais vu’. Inga Sempé challenges pretentious design and upholds
                 useful, ingenious design which brings elegant solutions to everyday life. Her creations often associate technique
                 and lightness, a successful combination which has been perfectly applied to her most recent settee.


                 AESTHETICS                                                                             As well as the two and three-seat versions, footstool and classic one-arm
                 We invited Inga Sempé to present her latest-born offering for Ligne Roset,             settee, Ruché is also offered in a one-arm settee version with integral table
                 the Ruché settee, in her own words :                                                   surface at the end of its seat. This might accommodate a tray, books, a lamp,
                                                                                                        DVD projector…It is a new departure which could, for example, enable
                 “To design one settee is difficult enough. To design another for a company             a narrow room to enjoy the benefits of a low table with no inconvenient
                 for whom you have already designed one – that’s even trickier.                         loss of space.”
                 After Moël (2007), which belongs to the ‘all-foam’ family of seating, I wanted
                 to take a completely different approach: a settee lifted from the ground by            We might also add that the very design of Ruché offers a collection of
                 a simple, fine structure which supports a comfortable seat.                            seating which allies comfort and compactness: its depth is only 85 cm,
                 I was, at the outset, inspired by swing seats, the kind of rocking seats which         the length of the various pieces varies between 170 and 200 cm, ideal
        Inga     one brings out in the garden in summertime, made from tubing and fabric,
                 which possess a lightness I like very much. Like them, Ruché combines rigidity
                                                                                                        for small apartments. Finally, its seat height (45 cm) will appeal to a broad
                                                                                                        clientèle, not least those who utterly reject seats which are too low.
        Sempé    and flexibility, with airy looks and sparing use of materials.
                                                                                                        QUALITY OF MANUFACTURE AND COMFORT
         RUCHÉ   Ruché’s structure is in solid beech, either stained or natural. I wanted               Structure :
                 to offer a version in natural beech: natural wood is beautiful, qualitative,           Structure and feet in solid wood, reinforced by two steel frames on the seat
                 authentic; it’s modern, and at the same time restful, for it is one of the rare        and back. Protective gliders on feet. Choice of 4 finishes for feet: natural matt
                 natural elements which one can have in a living room. The angles of the                varnished beech, anthracite-stained beech, red or blue. Integral table surface
                 feet are worked ‘en congé’, which both refines them and protects the grain             (for one-arm settees) in matching beech veneered MDF.
                 of the wood from shocks.
                                                                                                        Comfort :
                 Upon its slim legs rests a thick mattress with distinctive quilting, a kind of         Pullmaflex suspension on seat. Suspension of back via sprung steel grille.
                 boutis stitch or padding made using a cross-hatching of interrupted seams.             Elastic-webbed suspension on arms. Seat cushion in high resilience
                 Alternately flattened by the stitches then set free, the fabric ‘curls’ in places,     polyurethane Bultex foam 42 kg/m3 – 4.8 kPa and 38 kg/m3 – 3.6 kPa. Back
                 giving rise both to its unique appearance and to its name, Ruché (a gathered           cushion in polyurethane foam 30 kg/m3 – 1.8 kPa. Armrests in Bultex foam
                 or pleated fabric which serves as decoration on a piece of clothing).                  26 kg/m3 – 1.4 kPa.
                 The highlights arising from these changes in level are very rich and their
                 shading varies depending on the fabric used. A plain cloth is enriched with            Making-up:
                 reliefs, a velour captures light from every angle…this quilting, simple and            Cover quilted with polyester quilting 300 g/m², ultra-flexible polyurethane
                 finely-worked, was the subject of much research and many trials, at the                foam 30 kg/m3 – 1.8 kPa. The highly sophisticated execution of the quilting is
                 outset on my little sewing machine at my agency, then in the prototyping               achieved by a programmed sewing robot. Fully removable covers.
                 shop in Briord, on the seamstresses’ professional-grade machines, and finally
                 there were tests on the programmed sewing robot on which the settees                   Fabrics :
                 were to be produced.                                                                   Most plain fabrics can be used with the model Ruché: velours, wools, thick
                                                                                                        cloths, microfibres and leathers.
                 For Ligne Roset, Ruché also brings together the unusual and the traditional.
                 The unusual thing about this piece is its solid wood structure, and the great          RANGE
                 traditional element: the quilting, the very heart of its savoir-faire. Its rangy                Width          Depth                 Back height     Seat height
                 uprights and the undulations of its duvet combine to produce a harmonious              Medium settee
                 union of rigorous straight lines and soft, welcoming curves.                                       170          85                      82              45
                                                                                                        Large settee
                 Slender and fine, Ruché is nonetheless soft and welcoming.                                         200          85                      82              45
                 Its internal structure, its filling materials and its quilting were brought together   One-arm settee right / left
                 and developed with a view to offering great comfort. Since the height of its                       190          85                      82              45
                 armrests is the same as that of its back, one can just as easily sit sideways          One-arm settee right / left
                 and stretch out one’s legs: as a major refinement, the armrest is mounted                          190          85                      82              45
                 on elastic webbing to enable the sitter to lean back in the greatest possible          With table
                 comfort.                                                                                           77           62                      45
                                                                                                                                                    New
SOFAS                                                                                                                                           Products 2010




                CONCEPT: In 1985, Peter Maly created Prao, the first settee to boast a completely variable geometry thanks
                to its moveable, adjustable back and armrests.
                To celebrate the 150th anniversary of Ligne Roset, Peter Maly chose to revisit the model Prao 25 years later,
                reproducing all its functionalities but rewriting it in the vocabulary of 2010. The name of this model is
                a homage to the TED (Technology Entertainment Design) conference, an annual meeting initiated in 1984
                and dedicated ‘to the power of ideas to change the world’, and which makes its best lectures available to
                the public free of charge via its website www.ted.com .
                In 1985, we wrote of Prao: ‘The reduced surface area of rooms in city locations has led to the development of
                2-seat settees. One, two or three small settees constitute a practical solution, offering an excellent ratio of seat
                places to overall dimensions’. In fact, the 1985 range comprised only one compact settee W 150 D 75.
                In 2010, this desire to offer a compact 2-seat settee is still very much alive, in the form of a settee which is hardly
                bigger than the original: W 164 D 84. However, in order to integrate into spaces of all sizes, the range has been
                enriched with the addition of a 3-seat settee W 231 and a one-arm settee W 150. The possibility of positioning
                the back cushions and arm cushions, whether articulated or not, anywhere around the metal frame increases
                the number of configurations achievable, along with the number of possible corner compositions.
        Peter
        Maly    AESTHETICS                                                                            Seat cushion or fixed arm, removable and freely repositionable (secured
                The feet in satin-finish black, white or grey lacquer was designed with               in place by clips), with structure in mechanically welded steel and elastic-
        TED
                the specific intention of disconnecting the settee from the floor and thus            webbed suspension, upholstered in Bultex foam 26 kg/m3 – 1.4 kPa overlaid
                lightening its presence within the room. The rhythmic repetition of webbing           with polyester quilting 200 g/m². Back cushion or articulated arm with
                around the metal structure is reminiscent of the Bauhaus and the elegance of          5-position ‘click’ mechanism.
                the Barcelona hotel. The thick seat cushions suggest a generous, comfortable
                welcome. Each back or arm cushion may be easily put into position,                    Making-up:
                being clipped to the structure; thanks to their tapering shape they closely           Baguette stitching. Decorative webbing on the front and sides of the steel
                follow the line of the seat. This enables the user to personalise and modify          frame, executed as part of the cover. Footstool has webbing on all four sides.
                the configuration of his seating at leisure.The arm cushions, in their articulated    Fully removable covers.
                version, can also adopt a number of positions (high, low, and 3 intermediate
                positions), enabling the creation of a récamière or even an occasional bed            Fabrics :
                should the need arise. This articulated cushion can also be positioned at             All covering materials are possible.
                the back: with the latter slightly inclined to the rear, the sitter is sure to find
                an agreeable position for relaxation or snoozing.                                     RANGE
                                                                                                                 Width        Depth              Back height          Seat height
                QUALIT OF MANUFACTURE AND COMFORT                                                     Medium settee
                Structure :                                                                                      164            84                  76                    42
                Structure and feet in tubular steel Ø 25 mm and steel wire Ø 16 mm; choice            Large settee
                of 3 finishes: satin black, satin grey or satin white lacquer. Black polypropylene               231            84                 76                     42
                gliders.                                                                              1-arm settee right/left
                                                                                                                 150            84                 76                     42
                Comfort :                                                                             Footstool
                Pullmaflex suspension on seat. Seat cushions in high resilience polyurethane                     69              69                42                     42
                Bultex foam 38 kg/m3 – 3.6 kPa overlaid with polyester quilting 200 g/m².
                                                                                                                                                            New
SOFAS                                                                                                                                                   Products 2010




                              CONCEPT: It was while working on a concept for a hotel in Marrakech that the ground was prepared for
                              a collaboration between Noé Duchaufour-Lawrance and the Ligne Roset brand.
                              The hotel project never got off the ground but we were captivated by the oriental charm of the project,
                              its Moroccan inspiration, and its ‘zenitude’ of comfort and wellbeing. Noé Duchaufour-Lawrance, through
                              his work on quilting and colour, knew how to bring the creative ‘added value’ which has rooted the model
                              in modernity, ‘for keeps’.
               Noé
        Duchaufour Lawrance   PRODUCTION TECHNIQUE                                                                   the MEIDA tea table, also from Noé Duchaufour-Lawrance, designed
                              Its ‘all-foam’ construction is fairly sophisticated, for there is a synergy between,   for the same hotel project and also produced by Ligne Roset.
               OTTOMAN        on the one hand, the two injected foam cores of specific densities which go
                              to make the seat and back, and on the other, the addition of Bultex foam
                              glued around the periphery. All these elements combine to provide ‘ideal’              DIMENSIONS
                              comfort and ‘unequalled’ durability.                                                           Width            Depth   Height       Seat height

                              The quilting of the seat is shown to best effect by plain fabrics. Bicolour            Fixed or pivoting armchair
                              versions are also available, with the exterior (that is, all the vertical part)                    100            93      68           37
                              and interior (the mattressed part) in different fabrics or hides, perhaps              2- seat settee
                              in toning shades, or even contrasting materials.                                                   165            93      68           37
                              To clarify, in the bicolour version the two sections of the peripheral piping          3-seat settee
                              are in the material chosen for part A, that is, the interior of the seat.                          200            93      68           37
                              The range includes a fixed armchair H 68 W 100 D 93, seat 37, either fixed             Footstool
                              or pivoting; a 2-seat settee W 165; a 3-seat settee W 200; and a footstool                         89             80      37
                              W 89 D 80. These may be presented with the SALAM low table and
                                                                                                                                                       New
SOFAS                                                                                                                                              Products 2010




                      DESIGN/CREATION: This airy, suspended relax chair is a study of various ergonomic curves.
                      Christian Werner wanted to bring in a third dimension with the elasticity coefficient of the fibreglass shell
                      according to its thickness. Much patience was needed, but the result is highly interesting.

        Christian     MANUFACTURING TECHNIQUE
             Werner   The armrests and feet are available in a chromed finish, or in satin black
                      lacquer. The shell, in polyester resin and fibreglass, is clad in Bultex foam
                                                                                                         DIMENSIONS
                                                                                                                 Width           Depth             Height           Seat height
                      and can be covered in any fabric, microfibre or leather. Its high back enables
              FLIP
                      the sitter to rest his or her head and, with the footstool, one has an extremely   Fireside chair
                      comfortable relax chair.                                                                            63        80             106                     37
                                                                                                         Armchair
                      Flip is also available as a fireside chair, that is, without armrests.                              67.5      80             106                     37
                                                                                                         Footstool
                                                                                                                          62.5      45             38.5                    38.5




          Claudio     CONCEPT: After the Mini-Dada rocking chair in 2009, Ligne Roset now brings us the large-scale version.
         Colucci      A humorous seat-sculpture, it will find a place in most rooms in the house, from the bedroom
                      to the living room.
           BIGDADA

                      AESTHETICS                                                                         Comfort :
                      The common thread running through the creations of Claudio Colucci :               Clad in high resilience polyurethane Bultex foam 50 kg/m3 – 6.3 kPa.
                      rounded forms, supple and colourful, and soft textures.
                                                                                                         Making-up :
                      Mischievous, humorous even, his inspiration seems to be feminine                   Covers are held in place by velcro, and are removable.
                      and sensual: was it not he that designed the Délicabar in the Bon Marché,
                      Paris, not to mention the agnès b. megastore in Tokyo?                             Fabrics :
                                                                                                         Exclusively available in Divina, Eléments, Magic, Pause, Alcantara and Indiana
                      “My style is a mixture of mischief, humour, colour and sensuality,” he writes      hide.
                      on his website.
                                                                                                         RANGE
                      He sets himself up, therefore, as the scriptwriter for a sensitive world where                Width          Depth            Back height         Seat height
                      magic and childhood are never far away.                                            Rocking chair
                                                                                                                       53           100                  83,5               41
                      QUALITY OF MANUFACTURE AND COMFORT
                      Structure :
                      Panels of multi-ply, solid beech and polypropylene.
                                                                                                                                                          New
SOFAS                                                                                                                                                 Products 2010


                   CONCEPT: Philippe Nigro likes the idea of working with materials he knows. In the face of a new project,
                   this enables him to refuse to make any compromises which might be displeasing to his exacting nature. Indeed,
        Philippe   his new armchair for Ligne Roset, with its visible structure made entirely from solid wood, could never be
         Nigro     anything other than perfectly-executed. Comfortable, easy on the eye and very easy to accommodate – occupying
          FLAX     a square-shaped space of around 75 cm² – it will fit into interiors of all styles. Slipped into a contemporary
                   setting, the parallel glimpses it provides of the knowledge and skills of times past and the living aspect of natural
                   walnut combine to bring a touch of warmth.
                   AESTHETICS                                                                              QUALITY OF MANUFACTURE AND COMFORT
                   Right from the beginning, a very simple idea: the artisan upholsterers and              Structure :
                   cabinetmakers of our traditional trades were such lovers of well-executed               Integral structure and feet in solid American walnut.
                   work that even the hidden sections of their seats were beautiful to look
                   at. The carcases of ancient armchairs, when restored, are often real design             Comfort :
                   objects allying aesthetics and functionality. Hence Philippe Nigro’s desire             Seat cushion with inset steel springs and high resilience polyurethane
                   to return this obscured savoir-faire to its rightful place in our estimation;           Bultex foam 36 kg/m3 – 3.2 kPa clad in Bultex foam and polyester quilting
                   to create an armchair, the structure of which - a functional carcase which              200 g/m². Back cushion with integral lumbar cushion filled with new duck
                   is habitually concealed - becomes not only visible, but much more than this,            feathers (10 % feathers / 90 % down) H 88 mm with compartmented liner
                   its principal aesthetic asset.                                                          and polyurethane core 32 kg/m3 – 2.8 kPa.

                   The entirety of the structure – legs, seat, back and armrests – is made from            Making-up :
                   an assembly of curved slats of solid walnut, taking soft cushions which ally            Baguette stitching. Fully removable covers.
                   springs, Bultex foam, polyester quilting and feathers.
                   Designed in the boat-building style, in which only the necessary lines of               Fabrics :
                   construction are retained, the final assembly remains remarkably light                  All types of covering material are possible.
                   and elegant: a real piece of craftsmanship. Tradition wins out when it brings
                   together a tried and tested means of construction, masterly simplicity of line          RANGE
                   and maximum comfort.                                                                               Width          Depth            Back height           Seat height
                                                                                                           Armchair    76,5           80                  69                    38




                   CONCEPT: Eric Jourdan named this model in tribute to, “England, where the most flamboyant of modernity
                   and tradition meet (bowler hat and dreadlocks)”.
                   Two sources of inspiration:
                   1-to offer the consumer a product which suits a classic, common lifestyle.
                   2-the desire to transcend an archetypal classic piece of seating, taking it in a more contemporary direction.
                   Depending on the prism through which one observes it, the fabrics which cover it, the type of base one selects
                   for it, this piece can, “appear very contemporary, or very classic.”

                   PRODUCTION TECHNIQUE
                   It is in this spirit that a choice of two possible foot options is offered : firstly,   DIMENSIONS

         Eric      ‘stiletto’ legs, very slim with a small spatula-shape at their base which makes
                   the piece appear to float. And secondly, a ‘sleigh’ base in square tubing,
                                                                                                                   Width             Depth         Height           Seat height

        Jourdan    in the same spirit as the Hyannis Port storage, also designed by Eric Jourdan.
                   At first glance this model inspires comfort. Everything has been carefully
                                                                                                           Armchair
                                                                                                                       93              94                83            40
                   arranged to this end: the height of the back, its inclination, and its height.          2-seat settee
          HARRY
                   In the case of the ‘stiletto’ legs, there is a choice of two heights for the                        155             94                83            40
                   front feet: the first option (15 cm) is the same height as the ‘sleigh’ base;           Footstool
                   the second is 4 cm lower, giving an entirely different, less sloping, type of seat.                 93              37                40
                   Range comprises an armchair H 83 W 93 D 94, seat 40 cm; a small settee H
                   83 W 155 D 94, seat 40 cm; and a footstool (without feet) H 40 W 93 D 37.
                                                                                                                                                          New
SOFAS                                                                                                                                                 Products 2010
        François
           Bauchet
            ELSA

                      CONCEPT: François Bauchet designed the Elsa chair and bridge chair in 2009. For 2010, the family is being
                      enlarged:
                      -A version of the chair and bridge with brilliant-chromed sleigh feet, which is offered as an alternative option
                      to the original-style base.
                      -A small armchair inspired by the same aesthetics. Also worth noting is that these various items can now also
                      be upholstered in leather.                                      DIMENSIONS
                                                                                                                              Width          Depth         Height           Seat height

                                                                                                                 Armchair
                                                                                                                              61               71               74              42




                       CONCEPT: In 1952, Pierre Paulin designed, for his own personal use, his first significant piece of seating:
                       “At home, I take two broom handles, lean them against a wall, and make a ring out of kraft paper. The trick was
                       played, this seat was like a bag.” This armchair in mythical leather, produced by Meubles TV in 1954 under
                       the name ‘fauteuil 273’ (also known as ‘Anneau’), remains one of his most beautiful pieces of seating: a piece
                       donated by Paulin himself can be found in the collections of the musée des Arts Décoratifs, Paris.
                       A simple ring of taut hide shaped like a bicycle pannier with a pierced back set on a base made from two
                       rectangles of folded steel, it was also the forerunner of his famous Ribbon Chair (1966).
                       It is in homage to this great designer and by reason of the distinctive shape of its base that Ligne Roset decided
                       to christen this new chair, one of his last creations, ‘Anneau’.
          Pierre
                       The meeting of Pierre Paulin and Michel Roset in 2007 soon bore fruit in the form of two new creations
             Paulin
                       and six reissues, amongst which the model Pumpkin, which was directly inspired by Paulin’s 1971 seating,
            ANNEAU     designed for the private apartments of Claude and Georges Pompidou at the Elysée Palace.
                       Pierre Paulin had been working with Michel Roset on a number of projects when he was sadly taken from us
                       in June 2009. Of these, Ligne Roset has chosen to bring to the public two new reissues (Antigone dining table
                       and low table) in 2010, and also two new creations (Allusions rug and Anneau armchair).

                       AESTHETICS
                       Strictly speaking, the ‘Anneau’ armchair is evocative of the ‘fauteuil 780’ also   QUALITY OF MANUFACTURE AND COMFORT
                       known as ‘Concorde’. In effect, ‘fauteuil 780’ had been designed in 1966           Construction :
                       for the celebrated supersonic aircraft, and almost became the base design          Structure in tubular special steel Ø 20 mm, finished in satin black lacquer.
                       for its onboard seating.                                                           Base in cast aluminium finished in grained satin-finish lacquer for guaranteed
                                                                                                          durability, weighted with a steel plate. Circular felt glider.
                       On ‘fauteuil 780’, two thick streamlined foam strips (seat and back) were
                       united on a cast aluminium ‘ski’ base.                                             Comfort :
                       For the Anneau armchair, if the basic principle is similar, the design is much     The comfort springs from the flexibility of the structure of the seat
                       lighter, ethereal almost : the strips on the seat and back are reduced to          and back in special steel, reinforced with criss-cross elastic webbing on
                       a suspended hammock-type cover which hovers in quasi-levitation above              the seat, and on the back by the flexibility of the cover. Seat in high resilience
                       a sculptural, sensual base, to which they are linked only by a doubled             polyurethane foam 50 kg/m3 – 3.9 kPa. Fabric forms part of structure of
                       steel ring.                                                                        back. Lumbar cushion filled with new duck down (10 % feathers/90 %
                                                                                                          down), compressibility H 88 mm.
                       In the Anneau armchair one also sees Pierre Paulin’s constant concern for
                       the envelopment and effective support of the body, as by a shell, a nest:          Making-up :
                       Archi 1955-2009, Mushroom 1960, Pumpkin 1971-2008, Anda 2009. Thanks               Fully removable covers, held in place by velcro and zips.
                       to the generous slant of its back, its high back which envelops the shoulders
                       whilst supporting the head, its lumbar cushion and overall flexibility,            Fabrics:
                       the comfort offered by the Anneau armchair is remarkable. From whichever           All covering materials are suitable.
                       angle one views it, the base, rings, seat and back unite to create a piece of
                       great elegance, a harmonious symphony of curving lines which each find             RANGE
                       echo in parallel or inverted symmetry.                                                         Width        Depth             Back height           Seat height
                       Whilst remaining loyal to his design vocabulary, Pierre Paulin has readjusted,     Armchair
                       remodelled and now brings us an armchair which is at once sculptural                           81,5            71                104,5                   40
                       and functional, flexible and dynamic, sensual and futuristic, the ultimate         Footstool
                       evidence of the creative vivacity which was with him to the end of his life.                   68              55,5               40
                                                                                                                                                                   New
DINING TABLES - CHAIRS                                                                                                                                         Products 2010




                         Pierre
                            Paulin
                          ANTIGONE
                                     CONCEPT: Paradoxically, Pierre Paulin, who had until that point wished to strive for “what is useful to
                                     the largest number,” decided at the beginning of the 1980’s to create, with the help of the Mobilier national,
                                     a surprising collection constituting 15 or so prestige pieces worked according to the precepts of the cabinet-making
                                     tradition. Souvenirs of antiquity with the Curule chair, reissued by Ligne Roset in 2009, of the neo-gothic
                                     with the Cathédrale table, or China, with armchairs inlaid with palmettes…this refusal of the modernism of
                                     the period, this return to complexity, the temptation of the unique piece and a certain mannerism anticipated
                                     or at least echoed the Memphis trend (1980-1988). It as following a visit to the exhibition at the musée
                                     des Arts décoratifs (September 1983) which presented this collection that François Mitterand, having spotted
                                     a piece which pleased him, met its designer and invited him to conceive the working furniture for his presidential
                                     office at the Elysee Palace: 11 pieces were delivered between 1985 and 1988 and remained there until the end
                                     of his term of office in April 1995.

                                     This same exhibition at the musée des Arts décoratifs also included a spectacular table in precious amaranth wood
                                     covered with a sheet of glass, a true masterpiece from the journeyman carpenter. A version in light-coloured
                                     wood was long to be found in the dining room of Pierre Paulin in the rue des Ursulines, Paris. It was precisely
                                     this dining table – and the matching low table – which Pierre Paulin and Ligne Roset have chosen to reissue
                                     under the name Antigone.

                                     AESTHETICS
                                     Today, when one thinks of Pierre Paulin, one thinks first of all of his pop        QUALITY OF MANUFACTURE
                                     forms, organic and colourful. As with all great designers Paulin had               Base in natural or black-stained solid beech.
                                     a number of periods, a fact which renders him unclassifiable. His priceless,       Assembled via 27 x 27 mm pinned and glued wood blocks.
                                     unexpected creations from the 1980’s were long misunderstood, seeming
                                     to be more conformist than they actually were. But they strive towards             Top in 6 mm thick toughened clear glass in the case of the dining table,
                                     a technology of perfection which in itself merits our full attention: aspiration   and 12 mm for the low table.
                                     to enduring quality, and the visionary rejection of a consumer society soon
                                     to run out of steam?                                                               RANGE
                                                                                                                                             Width          Depth             Height
                                     The Antigone dining table has a central pedestal worked in the manner              Dining table
                                     of a wooden framework. The lines are vigorous, more masculine. Its great                                120             120                 73,5
                                     architectural rigour is characterised by a geometric, labyrinthine assembly of     Low table
                                     solid wood blocks and is evocative of the works of American architect Frank                             80               26,5
                                     Lloyd Wright (his 615 Husser table – 1899), and also those of architect
                                     Charles Rennie Mackintosh, standard-bearer of the Scottish Art nouveau
                                     movement (his D.S. 1 table - 1918). The addition of the glass top, the use of
                                     natural or black-stained beech, a tight-pored species, all combine to lighten
                                     and modernise the Antigone tables, which are true timeless classics.
                                                                                                                                                                                         New
DINING TABLES - CHAIRS                                                                                                                                                               Products 2010




                         Philippe
                         Nigro
                          T.U.                   CONCEPT: Innovation in the field of design may be considered from a variety of standpoints. Could it,
                                                 perhaps, boil down to the simple creation of objects? Must it be appreciated solely from a formal standpoint,
                                                 in terms of its aesthetic merit? Or on the contrary, from a purely functional point of view, in terms of its usage?

                                                 Quite apart from all these aspects, which to the mind of Philippe Nigro are indissociable, his creative approach
                                                 to the feet of the T.U. table (Table Universelle, or ‘universal table’) also questions the relationship between
                                                 design and the environment. In the case of his Confluences seating, one remembers that this is a detailed study
                                                 of the customs and lifestyles which led to a real revolution in terms of forms. In the case of the T.U. table,
                                                 leaving aside the requirements for customisation and dimensional adaptability which are more or less universal,
                                                 its functional and aesthetic innovativeness is the fruit of comprehensive environmental reflection: the very
                                                 quality of the base enables the user to ‘recycle’ any kind of top which he or she may already possess, such as
                                                 a top formerly belonging to old trestles, a reclaimed slab, an old door panel…and if the acquirer of a T.U. table
                                                 should choose one of the tops offered by Ligne Roset, they will ultimately be able, should it become damaged
                                                 or simply fall out of favour, to replace it easily with any other Ligne Roset top, or with a top from anywhere else.

                                                 AESTHETICS                                                                            The adaptation in terms of width is effected thanks to a system of runners;
                                                 Turning to the industrial world, Philippe Nigro discovered the technical              and as for thickness by a screw fixing. And thus the T.U. table joins the family
                                                 solutions vital to his project, which ultimately contributed to the definition of     of ‘clever’ furniture, being customisable, sustainable, and reversible.
                                                 the aesthetics of the T.U. base.

                                                 From a formal point of view, we are currently taking part in a return                 QUALITY OF MANUFACTURE
                                                 to an industrial style : the furniture of trade, seats in lacquered or aged metal     Universal base in folded soldered steel finished in satin white, black or red
                                                 are very much in the ’air du temps’, such as Tolix’ A chair or the La Pliée           lacquer. Two adjustable bases make it possible to use all tops of thicknesses
                                                 chair from Ligne Roset. Hence the choice of bases in folded soldered steel            from 30 to 55 mm (clamp-type chromed steel screw fitting), from 845
                                                 finished in satin white, black or red lacquer. The industrial, ‘architect’ look is    to 1000 mm in width (lateral runners), and of maximum weight 35 kg.
                                                 reinforced by the association with the substantially thick top offered in satin

                                 Torn
                                                 white or black laminate with natural oak edging. Two other tops are also              In the case of tops greater than 2 m in length, it is advised to use a third base.
                                                 offered: ebony-stained oak veneer or solid walnut with a core of spruce.              Four different finishes are offered in respect of tops: 42 mm thick alveolar
                                                 Even so, only the quintessence of industrial style is preserved: the extreme          panel finished in white or black laminate with natural oak veneered edge;
                         DESIGN PHILIPPE NIGRO   care taken with the design of each piece (right down to the chromed steel             all in ebony-stained oak veneer; or 39 mm thick solid composite with faces
                                                 screw fittings) and their irreproachable quality of execution distance us from        and edges in walnut and core in spruce. Whilst offering the appearance
                                                 the raw industrial style, turning the T.U. table into a refined object, which right   and solidity of solid wood, the latter guarantees the dimensional stability of
                                                 from its very conception bore all the hallmarks of a future design classic.           the top over time.

                                                 Technically speaking, the caliper feet will accommodate any type of top,              RANGE
                                                 regardless of its width or thickness, length or the material from which                           Width                    Length                   Height
                                                 it is constructed. The feet take care of any adjustments required by the top,         Table
                                                 providing the latter a width of 84.5 to 100 cm and a thickness of 3 to 5.5 cm.                   90                        180                      74
                                                 In the case of tops longer than 2 metres, a third base can be used.                   Base (except walnut)
                                                                                                                                                  100                       200                      74
                                                 In comparison to a traditional system of trestles, the stability is remarkable        Feet
                                                 since the top is clamped firmly in place by the feet instead of simply resting                   84,5 / 100 --             73 / 75
                                                 on top and therefore maintained by its weight alone.                                  Table (walnut only)
                                                                                                                                                  90                        200                      74
                                                                                                                            New
DINING TABLES - CHAIRS                                                                                                  Products 2010




                                    CONCEPT: Chair in solid walnut lacqeured on the seat and the front of the back.
                                    The reverse is in walnut, and the front in light blue lacquer. Inspired by the 1960’s and designed by Nathan
                                    Yong, a young Singaporean designer with whom we have already successfully collaborated (Trame storage
                                    and Pebble tables).

                         Nathan
                          Yong
                         MARCELLO




                                    CONCEPT: Chair, designed by Patrick Jouin. Light and stackable in fours, this chair has legs in solid beech
                                    stained black, and seat/back in red, black or white lacquered multi-ply. Offers a high degree of comfort.
                                    Competitive price. Supplied with a set of interchangeable gliders to suit the hardness of the floor.



                         Patrick
                         Jouin
                           ZYLA
                                                                                                                                                                                New
STORAGE                                                                                                                                                                     Products 2010



                         CONCEPT: The Modbox collection is based on a stacking of volumes like large format bricks, either solid
                         or hollow. The base module is 105 cm wide, 45 cm high and 47 cm in depth.
                         Niches are available in half-size, that is, 52.5 cm. The resulting small niche makes it possible to construct
                         compositions which are narrower and yet in the same spirit, playing with greater flexibility of dimension:
                         this proves particularly interesting in the case of wall panels. The unit height of 45 cm, associated with a 3 cm
                         base, produces pieces which are highly functional in terms of height : 93 cm for two blocks, 138cm for 3 blocks,
                         183 cm for 4 blocks (a height which has already proved popular with Cineline) ; compositions of 5 blocks have
                         a height of 228 cm. In the latter case it must be noted that any closed chests at the top must have pull-up doors,
          Pagnon &       and that in consequence these pull-up doors will increase the height to 275 cm when they are open !
             Pelhaitre   Having said that, there is no such problem in the case of compositions with a niche in the top section.
            MODBOX       The overall unit depth is always 47 cm ; this is demonstrably less cumbersome, will still accommodate TV or
                         hi-fi elements, and offers a good-sized drawer D 40 cm. Closed chests do not have hinged doors.
                         The 105 x 45 cm front does not allow for this, and has led to the kind of original solution which characterises
                         the product. Its horizontal rectangular surface brings rhythm to compositions by providing a contrast with
                         the niches. Closed chests are ‘opened’ by drawers (at level 1 at the bottom), drop flaps (levels 1-4) or a pull-up
                         door (levels 3 to 5).

                         DEFINITION                                                                                       MOTORISED VERSIONS
                         Niches are available in widths 105 and 52, thickness 3.8, always with a back panel.              Motorised versions of the chests with pull-up doors and chests of drawers are also
                         They are finished in gloss black or gloss white, or natural oak veneer. There is a choice        a possibility,
                         of 5 finishes for the back panels:                                                               The transformer feeding the motors is to be located within a drawer chest, beneath
                         Satin black or white lacquer, or satin-finish laminate coloured papyrus, lavande                 the top above the upper surface (not possible if there is an internal drawer). It is
                         (lavender) or souris (mouse). There is an option for lighting in the niches; this comprises      thus ventilated, accessible for maintenance, and the operating light remains visible.
                         a 35-diode LED spot set into the top of the niche. The warm light displays the veneer            The pull-up door is parallel-operating (as per Everywhere, Roman, Cineline) and its
                         and the coloured back panels to best effect. Spots are linked to a distribution box and,         opening and closing may be motorised; this is set in train by a light touch on the front.
                         depending on their distance from the latter, may require a 2 m extension cable. Spots            The movement stops if the front collides with an obstacle, even very gently. This
                         are operated via a foot switch. Closed chests are available in width 105 cm, in gloss            innovation has only recently come to the market and we selected the manufacturer
                         black or gloss white lacquer with back panels in one of the 5 colours described above.           BLUM for their reliability, for the significant investments they have made, and the tests
                         Chests with drop flap or pull-up door have one interior panel and two adjustable                 they have carried out. The components are guaranteed for 5 years.
                         surfaces. The chest with drop flap or pull-up door is also offered in a ‘bar’ version, with      In terms of usage and safety, we have allowed for chests with manual pull-up door
                         grey-tinted mirrored surfaces (one flat one on each side and one vertical one against            to be used at levels 3 to 5, with the possibility of a motorised version at levels 4
                         the right-hand side of the back panel), 1 shelf in matching grey-tinted glass on the right,      and 5. If placed at a lower height, a child inadvertently set the motorised mechanism
                         and one glass display stand on the left beneath the top. A chest W 105 cm can take               in motion, and be frightened by this. Wall chests in width 105 with pull-up door have
                         a drawer at level 1. the drawer front is 45 cm high; the sides of the drawers are 19 cm          a motor each. In the case of the drawer, the motor unit is fixed to the rear of the chest
                         high; with a fixed surface located 13.7 cm beneath the top; and an optional internal             and causes the drawer to open when pressure is placed on the drawer front. Since the
                         drawer above the fixed surface.                                                                  runners are equipped with controlled automatic closing, no motorisation is required
                                                                                                                          for this procedure. In all cases, a single transformer is required for the entire unit, given
                         ASSEMBLY                                                                                         that not all items will be operated at the same time; if one already has a motorised
                         The ‘bricks’, chests or niches, are stacked and indexed by means of a new system.                pull-up door, therefore, the electric drawer option is offered at a lower price since one
                         The bottom of the chest incorporates a groove, whilst the top of the lower chest                 only needs to add the motor unit.
                         takes a knife blade-shaped guide which screws onto the top: since this is smaller than
                         the groove it is able to slide sideways. This ‘translation’ is permitted in order to initiate    WALL PANELS
                         a play on ‘shifts’, and also to adjust the lateral appearances of the superimposed chests.       These are offered in 3 sizes: H 90 W 105 or W 135, and H 90 W 157. Any of these
                         Once the composition has been assembled and everything has been adjusted, the chests             will accommodate a flat-screened TV weighing 60 kg.The wall panel rests on the lower
                         are locked in position by means of a blocking screw. In niches, where it is not desirable        chests, is attached to the wall to avoid tipping, and supports the weight of a wall chest
                         for the method of fixing to be too obvious, 2 screws are mounted beneath the top,                which may be placed above it. For perfect adjustment, and to support the wall chests(s)
                         the heads of which are lacquered.                                                                resting on it, it may easily be adjusted in height from the front. Wall panels have
                                                                                                                          an overall thickness of 10 cm; finishes are as per the chests: gloss black or gloss white
                                                                                                                          lacquer. Coloured lacquers are not an option.
                         WALL CHESTS levels 4 or 5
                                                                                                                          The position of the cable port is decided at the time of installation in the customer’s
                         When the chests or niches are to be positioned in the top section of a composition
                                                                                                                          home, and according to the type of TV wall support. The cables coming from
                         above a wall panel, they are of a different type. In this case they are attached to a rail
                                                                                                                          the TV pass between the rear of the lowest chest and the wall, in the 2 cm space
                         fixed to the wall, and also rest on the top of the wall panel or chests. Their unusual
                                                                                                                          which accommodates the skirting board, and into the lowest chest, which may have
                         depth for high chests (here D 47, whereas in general the depth will be 38 cm or
                                                                                                                          a drop flap or drawer. This chest is pulled out for the cabling and then pushed back
                         less) demands a robust method of fixing, support from beneath (wall panel or chests),
                                                                                                                          into position. In contrast to Cineline, it is not possible to accommodate the peripherals
                         and linking-pieces. Only a pull-up door will be offered in respect of these chests.
                                                                                                                          (e.g. set-top box, DVD) in the chests above the wall panel, since these are set against
                         Where niches are to be wall-mounted, the adjusting screws remain visible but have
                         square covers (in zamac), lacquered to match the back panel.                                     the wall, leaving no room for cables.
                         The lower chest at level 1 is positioned at 2 cm from the wall to allow for the skirting
                         board. In order to align subsequent chests stacked above it from the rear, a 2 cm filler         TOPS
                         panel is placed at the rear of the wall chests or niches at levels 4 or 5. This filler enables   Tops conceal the tops of units.They are available in 3 lengths – 105, 157 and 210 – and
                         them to rest against the wall. Chests which are only superimposed, at levels 4 and 5,            two depths – 47 in the case of standard chests and 37 in the case of chests above
                         are equipped with a wall bracket.                                                                a wall panel. They are 12 mm thick and are available in the two finishes of the chests,
                         The upper wall chests (with fronts) are 105 cm wide, right or left, so that their weight         either gloss white or gloss black lacquer.
                         allows for ease of attachment and adjustment.
                                                                                                                                                           New
STORAGE                                                                                                                                                Products 2010



                             CONCEPT: When designing the Tours bookshelves, Pascal Mourgue’s twin concerns were aesthetics
                             and functionality. The Tours collection comprises bookshelves in 4 heights: H2, H4, H5 and H6. Finished on
                             all 4 sides, they can be used in the centre of a room if desired.
                             PRODUCTION TECHNIQUE                                                             shown in the photographs opposite.

              Pascal         The structures (shelves, side and front uprights) are available in a choice of
                             3 finishes : ebony-stained oak, gloss white lacquer or gloss black lacquer.
                                                                                                              The H2 version, not shown, is the exception to the rule in that both its back
                                                                                                              panels are in colour.
            Mourgue          There is a choice of colours for back panels in certain locations; the rest      These towers do not require a counterbalance: the taller ones have a wall
               TOURS         are matched to the structure. For example, in the case of the bookshelf          fixing hook at the rear of the uppermost back panel. TOURS shelving units
                             H 6, back panels are levels 1, 3 and 6 are white, whereas those at levels        are delivered ready-assembled.
                             2, 4 and 5 are to choice. The choice of finishes for satin-finish back panels
                             are as follows : Papyrus, Lavande (lavender), Souris (mouse) and Rouge vif       DIMENSIONS
                             (bright red). The first three are the same as the colours of the back panels             Width                      Depth                  Height
                             in the MODBOX collection.                                                        H2
                             Monocolour interpretations are also a possibility, with back panels matched              55                         45                     79
                             to the structure. This version is the one recommended for in-store displays.     H4
                                                                                                                      55                         45                     152
                             In the case of bookshelves H4, H5 and H6, the distribution of niches is always   H5
                             the same, going from top to bottom : the upper level has 2 sides and a back              55                         45                     189
                             panel matched to the structure; the level beneath that has a coloured back       H6
                             panel, as does the level beneath that; the next level down is monocolour as              55                         45                     226




                             CONCEPT: The Grande Lunatique low/dining table complements and completes the Lunatique pedestal
                             table. Height-adjustable between 50 cm and 74 cm, Grande Lunatique offers up its generously-proportioned
                             84 x 71 cm oval top to 4 guests when installed as a contemporary bistro table. When in low position, it serves as
                             a dinette table at the settee for two lovers, or even a laptop support for evening work or surfing sessions, always
                             on the same settee.
                             The movement of the top is assisted by a jack, itself operated by an articulated ring carefully set into the centre
                             of the top. The base and top are covered in white, clay or elephant-grey laminate, and are linked by a matching
                             lacquered stem. The laminated finish was chosen for its resistance and durability suitable to its intended regular
                             use as a dining table or work table. The 23 mm thick top is visually lightened by a bevelled edge.
                             A multifunctional, height adjustable, ‘urban’ table, Grande Lunatique brings an additional, elegant solution
                             to small apartments, bringing us as it does a whole new set of alternatives : Yo-Yo or Grande Lunatique.
             Inga
             Sempé           CONCEPT AND AESTHETICS
                             The Grande Lunatique low/dining table complements and completes                  an additional, elegant solution to small apartments, bringing us as it does
          GRANDE LUNATIQUE   the Lunatique pedestal table. Height-adjustable between 50 cm and 74 cm,         a whole new set of alternatives : Yo-Yo or Grande Lunatique.
                             Grande Lunatique offers up its generously-proportioned 84 x 71 cm oval
                             top to 4 guests when installed as a contemporary bistro table. When in low       QUALITY OF MANUFACTURE
                             position, it serves as a dinette table at the settee for two lovers, or even     An oval low/dining table comprising a steel frame finished in white, clay or
                             a laptop support for evening work or surfing sessions, always on the same        elephant grey-coloured laminate, a bevelled edge and a straight-sided base
                             settee.                                                                          in 23 mm thick panels of fibreboard covered with matching high-resistance
                                                                                                              laminate.
                             The movement of the top is assisted by a jack, itself operated by
                             an articulated ring carefully set into the centre of the top.                    The base/stem is a sliding profile which renders the height of the table
                             The base and top are covered in white, clay or elephant-grey laminate,           freely variable between 49 and 74 cm. This movement is assisted by a jack
                             and are linked by a matching lacquered stem. The laminated finish was            operated by an articulated ring set into the centre of the top.
                             chosen for its resistance and durability suitable to its intended regular use
                             as a dining table or work table. The 23 mm thick top is visually lightened by    RANGE
                             a bevelled edge.                                                                                        Width         Depth                Height
                             A multifunctional, height adjustable, ‘urban’ table, Grande Lunatique brings     Low/dining table       84             71                   49/74
                                                                                                                                                             New
OCCASIONAL FURNITURE                                                                                                                                     Products 2010




                                                                   CONCEPT: Two tables, to be presented together. A high version in brilliant-polished stainless steel, and a low
                                                                   version in Epoxy satin black lacquered steel. Designed by Polish designer Maria Jeglinska.

                                                      Maria
                                                 Jeglinska
                                                    CIRCLES




                                                                   CONCEPT: rotor-shaped low table in white lacquer (with milk glass) or black lacquer (with black glass).
                                                                   H 30 W 100 D 58.




                              Noé                   Noé
                       Duchaufour Lawrance   Duchaufour Lawrance
                                                                   CONCEPT: round tea table in white lacquer (with milk glass) or black lacquer (with black glass).
                              SALAM                  MEIDA
                                                                   H 43 Ø 60 cm.
                                                                                                                                                                   New
OCCASIONAL FURNITURE                                                                                                                                           Products 2010




                                             CONCEPT & AESTHETICS: If the glass top of the Tarmac low tables allows its sober steel feet to be viewed,
                                             it is above all enlivened by silk-screen printed waves, the studied design of which plays with our senses to make
                                             them lose their bearings. A trained plastic artist, Pierre Charpin loves to subvert forms, making them become
                                             almost alive, surprising us, arousing in us diverse, even contradictory sensations.
                                             More than just a low table, Tarmac is a concentration of emotions, a perpetual illusion, a never-to-be-resolved
                                             enigma.
                                             The serpentine undulations along the length of the rectangular table 120 x 41.7 cm are in themselves a subversive
                                             proposition…but will enable everyone to have his whisky glass in convenient reach.
                                             Art, poetry, or both ?
                            Pierre
                            Charpin
                                             QUALITY OF MANUFACTURE                                                         RANGE
                              LINOSA
                                             Low table on brushed-finish tubular steel feet. Top in 12 mm thick ‘cristal’                              Width   Depth   Height
                                             glass (2 tops of 6 mm each), with silk-screen printed anthracite grey motif.   Low ‘square’ table
                                                                                                                                                        90     71,5    24,5
                                                                                                                            Low ‘rectangular’ table’
                                                                                                                                                        120    41,7    24,5




                                             CONCEPT: Low table comprising superimposed strata in solid walnut or white lacquered MDF with central
                                             space. H 28 W 150 D84 cm.


                              Noé
                       Duchaufour Lawrance
                             INTERSTICE
                                                                                                                     New
LIGHTING                                                                                                         Products 2010



                               CONCEPT: table lamp Designed by newcomer Thomas Bordier-Rodriguez, a light which seems to float.
                               A revisitation of a classic. Equipped with 1 x E 27 21 W compact fluo bulb; shade in repoussé metal set on
                               a transparent plexiglass cylinder.




                 Thomas
           Bordier-Rodriguez
              SUSPENSION 63




                               CONCEPT: Table lamp in white mouth-blown opaline glass and satin-finish black lacquered metal, equipped
                               with an E27 21 W compact fluo warm white-coloured bulb.




                 Pierre
               Charpin
                  DESA
                                                                                                                              New
LIGHTING                                                                                                                  Products 2010




                                 CONCEPT: The originality of this table lamp rests in its very simplicity, its ‘undesigned’ edge. La plic comprises
                                 a bulb with lateral reflector and a stainless steep clip. It is fixed, torch-like, to the wall via a simple screw,
           Nathalie              and is plugged into a socket. Equipped with an electronic dimmer, it is ideal as a bedside light. 60 W bulb
            Dewez                with lateral silver crown.
            LA PLIC




                                 CONCEPT: An elegant illuminated reed designed by Nathalie Dewez, who previously designed Lamp06
                                 for us. The base is in moulded cast zamac, left untreated, in the form of a culbuto toy; the stem is 1.90 m high,
                                 and is made from carbon fibre. 12 V 50 W bulb with foot-operated electronic dimmer.
                                 This model, infinitely tiny and infinitely simple, plays with the space which surrounds it without invading it.




                      Nathalie
                       Dewez
                        DANSE
                                                                                                                              New
ACCESSORIES                                                                                                               Products 2010




                 Bruce &
              Stéphanie Tharp
                                CONCEPT: These vases by American designers Bruce and Stephanie Tharp come in a choice of two colourways.
                 STACK          Each vase has four constituent parts: a large liquid container, two medium pieces which simply act as extension
                                rings, and a small one which acts as a ‘reducer’ when only one flower or a small spray of blooms is to be displayed.
                                Of course, one does not have to use all the pieces all the time, thus enabling the vase to adapt to the height
                                of each flower or spray. Two colourways: one in ‘Sixties’ colours and another more ‘classic’ version in white with
                                one single ring in platinum finish. This difficult-to produce piece is made in Italy by an artisan who undertakes
                                commissions for a number of international designers.




                Loudor
               Design
                ARLEQUIN        CONCEPT: Fibreglass boxes finished with 50 layers of lacquer and polished by hand.
                                These stackable pieces are beautifully-proportioned and will thus inject a note of dynamism into showrooms.
                                They can even be stacked to form a totem of human height. The only drawback is that since the lacquer hardens
                                over time it is vulnerable to violent shocks. Designed by Loudor Design Jean-François D’Or, a young Belgian
                                designer with whom we have already worked (Cutting).
                                                                                                                  New
ACCESSORIES                                                                                                   Products 2010


                  Soda
              Designers
                  MIRRKO




                            CONCEPT: Small 3D mirror in brilliant-polished stainless steel. A striking effect obtained by an interplay
                            of non-distorted images. It is advised to present these mirrors in a group rather than alone to maximise
                            their impact.




                 Inga
                Sempé
                 LONG POT
                  PLATINE   CONCEPT: A new platinum version of a best-seller. Made from stoneware, in France.
                                                                                                                             New
CARPET                                                                                                                   Products 2010




                        CONCEPT & AESTHETICS: Pierre Paulin was sadly taken from us in June 2009. Prior to his death
                        he had retired, in 1997, with his wife Maïa, to a hilltop in the Cévennes with views of the Aigoual mountain,
                        where it began snowing in winter and was still snowing even in March…
                        Installing himself in an ancient smallholding, he awoke with the sun and paced the country roads until nightfall,
                        an observer of all the forms, materials and colours nature has to offer.
                        The ‘Allusions’ rug was born in much this way, from Paulin’s observation of a random pattern of bird footprints
            Pierre      on the virgin morning snow. No further inspiration was required for Pierre Paulin to design this rug with
           Paulin
                        its delicate, poetic motif.
           ALLUSIONS
                        QUALITY OF MANUFACTURE
                        Rug in 100% New Zealand wool. Two colourways: base in écru with black   RANGE
                        motifs, or in black with blue motifs.                                           Width   Length
                                                                                                Rug     200     200




                        CONCEPT: Beautifully-constructed rugs in a patchwork of hairy cowhide, available in
                        a choice of two sizes. Backing in black wool felt onto which are randomly sewn round pieces of hide.
             Carmen     Similar rugs are available on the market, not identical in shape but using the same technique (e.g. Bo concept,
         Stallbaumer    but these have become more expensive and there is no possibility of special orders). Available from stock
          DIM DAM DOM   in standard sizes of 200 x 300 cm and in an oval pebble-shape, size 170 x 190; special orders also possible.




                        CONCEPT: Rugs designed by Pierre Charpin.
                        Choice of two standard sizes. Produced in collaboration with Jab Anstoetz Carpets Germany.
                        100 % New Zealand wool, hand tufted in the EU.
           Pierre
         Charpin
            ARCATA
    New
Products 2010

				
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