This model’s originality also springs from the vast potential for mixing materials (fabric and leathers) and colours thanks to the superb rear section of the back, which may be customized in leather. This is a settee with two faces which is thus worth showing off as much for its front view as for its upholstered rear view. As for the seat, it is complemented by a dedicated cushion to further accentuate the model’s comfort, and a footstool which echoes the upholstered base style of the settee.
Ligne Roset
Taru
Through the Taru settee, the designer’s intention is to create a comfortable place to sit which shows off the craftsmanship and expertise of Ligne Roset. Taru is comfortable and welcoming, with its fully upholstered base giving it true character. The seat is also intertwined with its subtly curved backrest in a bi-material treatment. It is available as a large settee, medium settee and 1-arm settee (left or right).
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Technical Specifications
CONSTRUCTION: Structure of armrests and
back in mechanically-soldered tubular steel, clad
in foam and 110gr/m² polyester quilting.
Structure of seat composed of 3-layer
particleboard and plywood for excellent rigidity.
COMFORT: Suspension of seat via elastic
webbing. Seat cushion in high resilience Bultex
foam (38kg/m3 – 3.6 kPa, 36kg/m3 - 2.8 kPa,
38kg/m3 – 2.8 kPa) clad in 110g/m² polyester
quilting.
Back composed of high resilience Bultex foam
(36kg/m3 – 2.8 kPa, 38kg/m3 – 2.8 kPa) clad in
ultra-flexible polyurethane foam (30 kg/m3 – 1.8
kPa) and 110g/m² polyester quilting. Cushion
(60x60 cm) filled with new duck feathers (15%
down).
MAKING-UP : 3 mm bourrelet stitch on back and
armrests. Twin-needle stitching on seat. Covers
may be removed by a professional.
back in mechanically-soldered tubular steel, clad
in foam and 110gr/m² polyester quilting.
Structure of seat composed of 3-layer
particleboard and plywood for excellent rigidity.
COMFORT: Suspension of seat via elastic
webbing. Seat cushion in high resilience Bultex
foam (38kg/m3 – 3.6 kPa, 36kg/m3 - 2.8 kPa,
38kg/m3 – 2.8 kPa) clad in 110g/m² polyester
quilting.
Back composed of high resilience Bultex foam
(36kg/m3 – 2.8 kPa, 38kg/m3 – 2.8 kPa) clad in
ultra-flexible polyurethane foam (30 kg/m3 – 1.8
kPa) and 110g/m² polyester quilting. Cushion
(60x60 cm) filled with new duck feathers (15%
down).
MAKING-UP : 3 mm bourrelet stitch on back and
armrests. Twin-needle stitching on seat. Covers
may be removed by a professional.
Meet the designer
Sebastian Herkner
Sebastian Herkner (born 1981) studied Product Design at HfG Offenbach University of Art and Design. During his studies he began to focus on designing objects and furniture, honing his keen feel for materials, colors and textures. For a short while he then worked for Stella McCartney in London. In the year 2006 Sebastian Herkner founded his own studio. Since that time, he has designed furniture, lamps and smaller items for manufacturers such as Ames, and Tradition, Cappellini, ClassiCon, Dedon, Ligne Roset, Linteloo, Moroso, Pulpo, Rosenthal, Thonet, Wittmann and Zanotta. Herkner also works on interior architecture projects and museum and exhibition design. His works have won numerous accolades – among others the IF Award, the Iconic Award and the Elle Deco International Design Award (EDIDA). As Guest of Honour at imm cologne 2016, Sebastian Herkner provided the design for “Das Haus”. In 2019, Maison&Objet elected him “Designer of the Year”.
An unconditional love for traditional craftsmanship paired with a good feel for new technologies, a true flair for colour, authentic materials and textures, an unadulterated curiosity for different cultures, for embracing and integrating them, and a commitment to taking responsibility for the things and people one works with, not to mention consideration and respect for all of the details and steps necessary to create an extraordinary object…: Since the success of the Bell Table for ClassiCon in 2012, Sebastian Herkner has never looked back, whilst remaining true to his word – and himself. Balance and intuition are important and enduring factors in his work, which he sees as a continuous dialogue that straddles the disciplines: It takes him to the far corners of the world in search of almost forgotten crafts techniques, of factories that have a tradition going back centuries, to the crafts Sleeping Beauties of the craft world that he can awaken from their slumbers. In the process he creates not just chairs, sofas, lamps, tables, vases and carpets, but an entire cosmos that shines a new light on how objects can appeal to the senses, and where beauty is cultivated from within the process itself and from his empathy towards people.
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