20.02.2013 Views

Allermuir Year Book - Accueil

Allermuir Year Book - Accueil

Allermuir Year Book - Accueil

SHOW MORE
SHOW LESS

You also want an ePaper? Increase the reach of your titles

YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.

Section One<br />

Soft Seating 18<br />

Section Two<br />

Chairs with Stools 62<br />

Section Three<br />

Stools 98<br />

Section Four<br />

Chairs 118<br />

Section Five<br />

Benches 150<br />

Section Six<br />

Tables 170


Established in 1971, <strong>Allermuir</strong> has become one of the leading<br />

manufacturers of high quality contemporary furniture in the UK today.<br />

In particular during the early nineties we used our manufacturing base to<br />

bring some of the most exciting and talented designer’s ideas to the marketplace.<br />

These products continue to be manufactured under exclusive licence, at our<br />

factory in North West England.<br />

Following the acquisition of <strong>Allermuir</strong> by the Senator Group in 2005 we<br />

have gone on to invest heavily in our R&D, marketing and manufacturing facilities,<br />

launching award winning products, expanding our area of operation across<br />

Europe, America and Australia, whilst at the same time achieving significant<br />

sustained growth within the UK.<br />

Our portfolio offers design excellence, visual stimulation and diverse<br />

materials, bringing distinctiveness and comfort to grace any interior whilst<br />

remaining affordable and accessible. Good design should, we believe, deliver<br />

value and not just a high price tag! Products that exemplify the Company’s<br />

commitment to producing well detailed and original designs whilst meeting the<br />

functional requirements of most leisure and corporate environments. In addition<br />

to all of this we offer a comprehensive and first rate service, including space<br />

planning, delivery and installation. Everything we do is built to order so the final<br />

specification and character of the product is in the hands of the client.<br />

The <strong>Allermuir</strong> name is now synonymous with design and quality<br />

manufacturing in the UK, and the world-wide marketplace.<br />

Fondée en 1971, la société<br />

<strong>Allermuir</strong> est devenue aujourd’hui<br />

l’un des premiers fabricants de<br />

meubles contemporains de qualité<br />

au Royaume-Uni.<br />

Au début des années 90 en<br />

particulier, nous nous sommes<br />

appuyés sur notre infrastructure<br />

de fabrication pour introduire sur le<br />

marché les idées les plus excitantes<br />

et les plus talentueuses soumises<br />

par les concepteurs. Ces produits<br />

continuent à être fabriqués, sous<br />

licence exclusive, dans notre usine<br />

du Nord-Ouest de l’Angleterre.<br />

Suite à l’acquisition d’<strong>Allermuir</strong> par<br />

le Senator Group en 2005, nous<br />

avons effectué de lourds<br />

investissements en R&D, marketing<br />

et équipements de fabrication.<br />

Nous avons lancé des produits qui<br />

ont été primés et nous avons<br />

étendu notre zone d’activité en<br />

Europe, en Amérique et en Australie,<br />

tout en enregistrant dans le même<br />

temps une croissance significative<br />

et soutenue au Royaume-Uni.<br />

Notre portefeuille est structuré<br />

autour de l’excellence de la<br />

conception, de la stimulation<br />

visuelle et de la diversité des<br />

matériaux pour apporter une<br />

touche de confort et d’individualité<br />

qui agrémente n’importe quel<br />

intérieur tout en restant abordable<br />

et accessible à une large clientèle.<br />

Un bon design doit, selon nous,<br />

être accompagné d’un bon rapport<br />

qualité/prix, pas seulement d’une<br />

étiquette avec un prix élevé !<br />

Ce sont des produits qui illustrent<br />

l’attachement de la société à la<br />

production de modèles originaux,<br />

où chaque détail a son importance,<br />

qui satisfont aussi aux exigences<br />

fonctionnelles requises dans<br />

la plupart des environnements<br />

d’entreprise ou de loisirs.<br />

Nous offrons en outre un<br />

service complet de tout premier<br />

ordre qui comprend les plans<br />

d’aménagement de l’espace,<br />

la livraison et l’installation. Tout ce<br />

que nous faisons est fabriqué sur<br />

commande pour que la spécification<br />

finale et le caractère du produit<br />

reposent entre les mains du client.<br />

Le nom d’<strong>Allermuir</strong> est maintenant<br />

synonyme de design et fabrication<br />

de qualité, tant au Royaume-Uni<br />

que sur le marché mondial.<br />

Seit seiner Gründung 1971 hat<br />

sich <strong>Allermuir</strong> zu einem der<br />

führenden Hersteller hochwertiger<br />

zeitgenössischer Möbel in<br />

Großbritannien entwickelt.<br />

Insbesondere in den frühen<br />

Neunzigerjahren nutzten wir unsere<br />

Fertigungsbasis, um einige der<br />

aufregendsten und talentiertesten<br />

Designideen auf den Markt zu<br />

bringen. Diese Produkte werden<br />

weiter unter exklusiver Lizenz in<br />

unserem Werk im englischen<br />

Nordosten hergestellt.<br />

Nach der Übernahme von<br />

<strong>Allermuir</strong> durch die Senator Group<br />

im Jahr 2005 haben wir starke<br />

Investitionen bei Forschung und<br />

Entwicklung, Marketing und<br />

Fertigungseinrichtungen geleistet,<br />

preisgekrönte Produkte auf dem<br />

Markt eingeführt, unseren Betrieb<br />

über Europa, Amerika und Australien<br />

hinweg ausgeweitet und gleichzeitig<br />

ein beachtliches, anhaltendes<br />

Wachstum in Großbritannien vollzogen<br />

Unser Portfolio bietet Spitzendesign,<br />

optisch anregend, in vielfältigen<br />

Materialien, das allen Innenräumen<br />

eine markante, komfortable Note<br />

verleiht, dabei aber gleichzeitig<br />

preisgünstig und erschwinglich<br />

bleibt. Gutes Design sollte unserer<br />

Meinung nach echten Wert liefern,<br />

nicht nur hohe Preise! Produkte,<br />

die den Einsatz des Unternehmens<br />

für die Herstellung detailgenauer<br />

Originalkonstruktionen bei<br />

Befolgung der funktionalen<br />

Anforderungen der meisten<br />

Freizeit- und Firmenumgebungen<br />

verwirklichen.<br />

Zusätzlich zu all dem bieten wir<br />

einen umfassenden, erstklassigen<br />

Service, einschließlich<br />

Raumplanung, Lieferung und<br />

Installation. Wir fertigen alles nach<br />

Auftrag, wodurch Vorgaben und<br />

Charakter des Produkts letztlich<br />

in den Händen des Kunden liegen.<br />

In Großbritannien wie auf dem<br />

weltweiten Markt ist der Name<br />

<strong>Allermuir</strong> heute gleichbedeutend<br />

mit Design und hochwertiger<br />

Verarbeitung.<br />

<strong>Allermuir</strong> Portfolio — 1


Contents<br />

Section One<br />

Soft Seating<br />

20.21<br />

Wolfgang C R Mezger —<br />

Lola<br />

A seductive, curving and<br />

shapely design. This upholstered<br />

range comes in the form of a<br />

two seat sofa and a chair with<br />

either a dynamic four leg frame<br />

or a simple swivel base.<br />

Un modèle plein de séduction, aux<br />

lignes arrondies et harmonieuses.<br />

Cette gamme tapissée est<br />

proposée sous forme d’un canapé<br />

deux places et d’un fauteuil avec<br />

empiétement dynamique quatre<br />

pieds ou un simple pied pivotant.<br />

Verführerisches, geschwungenes,<br />

formschönes Design. Diese<br />

Reihe gepolsterter Sitzmöbel kann<br />

als Zweisitzersofa und als Stuhl<br />

mit dynamischem Vier-Bein-Gestell<br />

oder einfachem Drehsockel<br />

geliefert werden.<br />

2 — <strong>Allermuir</strong> Portfolio<br />

22.25<br />

Mark Gabbertas —<br />

Tommo<br />

Understated, contemporary<br />

and inviting, Tommo is a<br />

versatile design comprising<br />

of a club chair with matching<br />

footstool, a lounge chair, a<br />

dining chair and high stool.<br />

Sobre, contemporain et accueillant,<br />

Tommo est un modèle polyvalent<br />

comprenant un fauteuil club avec<br />

repose-pied assorti, une chaise de<br />

salle à manger et un tabouret haut.<br />

Schlicht, zeitgemäß und einladend<br />

– Tommo ist ein vielseitiges<br />

Modell, das einen Clubsessel<br />

mit passendem Fußhocker,<br />

einen Esszimmerstuhl und einen<br />

Barhocker umfasst.<br />

20.21<br />

22.25<br />

26.29<br />

26.29<br />

PearsonLloyd —<br />

Conic<br />

Conic is a refreshing eye<br />

catching take on various<br />

conical form designs. The range<br />

includes a tub chair, lounge<br />

chair and chair with integral<br />

headrest, all on polished<br />

Chrome wire frame bases.<br />

Conic est une variante originale<br />

et attractive de divers modèles aux<br />

formes coniques. Cette gamme<br />

comprend un fauteuil tonneau,<br />

un fauteuil de salon et un fauteuil<br />

avec appuie-tête intégré, tous sur<br />

empiétement en tube métallique<br />

chromé poli.<br />

Conic ist ein erfrischendes,<br />

augenfälliges Spiel mit<br />

verschiedenen konischen<br />

Formen. Die Reihe umfasst einen<br />

Clubsessel, Liegesessel und<br />

inen Sessel mit Kopfstütze,<br />

jeweils auf hochglanzpoliertem<br />

Chromdrahtgestell.


30.33<br />

34.35<br />

30.33<br />

PearsonLloyd —<br />

Open<br />

Open is an elegant,<br />

contemporary collection<br />

of soft seating with chair and<br />

sofa sharing a formed, Steel<br />

rod, base-frame aesthetic;<br />

angular and striking, lending<br />

a physical lightness to the<br />

appeal of the design.<br />

Open est une élégante collection<br />

contemporaine de sièges<br />

rembourrés. Le fauteuil et le canapé<br />

partagent la même esthétique avec<br />

un empiétement en tiges d’acier<br />

profilé ; son étonnant aspect<br />

angulaire ajoute une légèreté<br />

physique au charme de ce modèle.<br />

Open ist eine elegante,<br />

zeitgenössische Kollektion<br />

gepolsterter Sitzmöbel. Sessel und<br />

Sofa weisen dieselbe formbewusste<br />

Stahlstabkonstruktion auf. Die<br />

charakteristische, kantige Optik<br />

vermittelt fast einen Eindruck von<br />

Schwerelosigkeit.<br />

36.37<br />

34.35<br />

Mark Gabbertas —<br />

Tubby<br />

Contemporary alternative to<br />

traditional tub chair and sofa<br />

designs. Tubby comprises of<br />

a Beech veneered backrest<br />

and clean upholstery, ideal<br />

for both corporate and leisure<br />

environments.<br />

Une alternative contemporaine aux<br />

modèles traditionnels de canapé<br />

et fauteuil tonneau. Tubby possède<br />

un dossier en hêtre plaqué et un<br />

habillage sobre, un modèle idéal<br />

pour les environnements<br />

d’entreprises ou de loisirs.<br />

Zeitgemäße Alternative zum<br />

traditionellen Design von<br />

Clubsessel und Sofa. Mit seiner<br />

Rückenlehne in Buchenfurnier und<br />

den klar geschnittenen Polstern<br />

eignet sich Tubby ideal für<br />

Firmen- wie für Freizeitbereiche.<br />

36.37<br />

Simon Pengelly —<br />

Bison<br />

A highly stylish and distinctive<br />

tub chair design with<br />

characterful broad shoulders<br />

and a compact footprint.<br />

The chair provides a generous<br />

comfortable sit and the moulded<br />

seat and back are enhanced<br />

by superb upholstery detailing.<br />

Un modèle de fauteuil tonneau très<br />

élégant et distinctif avec un haut de<br />

dossier large et plein de caractère<br />

et un encombrement au sol minime.<br />

Ce fauteuil constitue un siège<br />

généreux et confortable dont<br />

l’assise et le dossier moulés sont<br />

mis en valeur par les superbes<br />

détails de l’habillage.<br />

Ein höchst eleganter und markanter<br />

Clubsessel mit charakteristischen<br />

breiten Schultern und kompakter<br />

Standfläche. Der Sessel ermöglicht<br />

großzügiges, bequemes Sitzen<br />

und die geformte Sitzfläche<br />

und Rückenlehne werden<br />

durch exquisite Polsterdetails<br />

hervorgehoben.<br />

38.39<br />

38.39<br />

Simon Pengelly —<br />

Venus<br />

A versatile, compact tub<br />

chair with a moulded foam<br />

body and sprung seat<br />

providing excellent comfort<br />

for both informal and formal<br />

meeting, conference and<br />

dining applications.<br />

Un fauteuil tonneau compact aux<br />

multiples applications, avec une<br />

structure en mousse moulée et<br />

une assise à ressorts qui assurent<br />

un confort excellent pour les<br />

réunions formelles ou informelles,<br />

les conférences et les repas ou<br />

banquets.<br />

Ein äußerst vielseitiger und<br />

kompakter Stuhl. Der geformte<br />

Schaumstoffkörper und gefederte<br />

Sitz bieten hohen Komfort bei<br />

zwanglosen wie formellen<br />

Besprechungen, Konferenzen<br />

und Abendessen.<br />

<strong>Allermuir</strong> Portfolio — 3


40.41<br />

<strong>Allermuir</strong> Design Team —<br />

Dandy<br />

Dandy is an exceptionally well<br />

turned out sofa and armchair<br />

combination with classic<br />

style, simple proportions,<br />

clean lines, great comfort and<br />

broad appeal.<br />

Dandy est un ensemble canapé<br />

et fauteuil d’une présentation<br />

exceptionnellement soignée dans<br />

un style classique, aux proportions<br />

simples et aux lignes sobres doté<br />

d’un merveilleux confort et d’un<br />

charme infini.<br />

Dandy ist eine außergewöhnlich<br />

gelungene Kombination aus Sofa<br />

und Sessel in klassischem Stil,<br />

einfachen Proportionen und klaren<br />

Linien, die großen Komfort bietet<br />

und auf universellen Anklang<br />

gestoßen ist.<br />

4 — <strong>Allermuir</strong> Portfolio<br />

42.43<br />

<strong>Allermuir</strong> Design Team —<br />

Pebble<br />

Pebble is a superb option for<br />

a multitude of informal meeting<br />

spaces or corporate breakout<br />

areas. Its design allows for<br />

user interactivity, as it can be<br />

nested with other Pebbles, in a<br />

scatter format or used as a<br />

stand-alone piece.<br />

Pebble est une superbe option<br />

convenant à une multitude de<br />

cadres de rencontre informels ou<br />

aux espaces de détente dans les<br />

entreprises. Sa conception permet<br />

l’interactivité des utilisateurs<br />

puisque les poufs Pebble peuvent<br />

s’imbriquer les uns dans les autres<br />

pour une disposition ‘étendue’ ou<br />

être utilisés tout seuls.<br />

Pebble ist ein exzellentes<br />

Sitzkonzept für unterschiedlichste<br />

informelle Meetingbereiche oder<br />

arbeitsfreie Zonen. Sein Design<br />

ermöglicht Benutzern Interaktivität,<br />

da es mit anderen Pebbles<br />

gruppiert, verstreut arrangiert oder<br />

allein gestellt werden kann.<br />

44.45<br />

John Coleman —<br />

Jaks<br />

This fun and playful range can<br />

provide seating for up to four<br />

people and facilitates meeting<br />

and greeting in informal spaces.<br />

Cette gamme amusante et ludique<br />

permet d’asseoir jusqu’à quatre<br />

personnes et facilite les rencontres<br />

et l’accueil dans des espaces<br />

informels.<br />

Diese humorvolle und spielerische<br />

Reihe bietet Platz für bis zu vier<br />

Personen. In informellen Räumen<br />

liefert es einen günstigen Rahmen<br />

für Begegnungen und Begrüßungen.<br />

40.41<br />

42.43<br />

44.45


50.55<br />

<strong>Allermuir</strong> Design Team —<br />

Pause<br />

Pause is a mature and<br />

sophisticated version of the<br />

ubiquitous modular reception<br />

and breakout space system<br />

furniture. The comfort of the core<br />

modules has been carefully<br />

balanced to provide a bench<br />

style sit, but with just the right<br />

degree of softness along<br />

with a supportive backrest.<br />

Pause est une version mûrie et<br />

sophistiquée du système<br />

modulaire omniprésent dans les<br />

espaces d’accueil et de détente.<br />

Le confort des modules au cœur<br />

de la gamme a été soigneusement<br />

équilibré pour obtenir des sièges<br />

de style banquette mais avec un<br />

dossier de soutien et exactement<br />

le niveau de moelleux qui convient.<br />

Pause ist eine ausgereifte, elegante<br />

Version des modularen Sitzsystems,<br />

das in Empfangsbereichen und<br />

arbeitsfreien Zonen allgegenwärtig<br />

ist. Der sorgfältig ausgewogene<br />

Komfort der Kernmodule schafft<br />

bankähnliche Sitze mit perfekt<br />

abgestimmter Sitzelastizität und<br />

stützender Rückenlehne.<br />

46.47 48.49<br />

46.47<br />

Ross Didier —<br />

Obelisk<br />

Obelisk is a formal yet playful<br />

range of soft seating. The<br />

essentially rectangular forms<br />

that make up the body of this<br />

piece have striking angular<br />

facets, while the whole thing<br />

has a pronounced tilt and is<br />

slightly elevated on broad,<br />

sturdy formed Steel legs.<br />

Obelisk est une gamme à la fois<br />

formelle et ludique de sièges<br />

rembourrés. Les formes<br />

essentiellement rectangulaires<br />

qui constituent la partie principale<br />

de ce modèle ont des faces<br />

angulaires tout à fait surprenantes<br />

tandis que l’ensemble a une<br />

inclinaison marquée et est<br />

légèrement surélevé sur des pieds<br />

larges et robustes en acier moulé.<br />

Obelisk ist eine formelle und doch<br />

verspielte Polstermöbelreihe.<br />

Die im Wesentlichen rechteckigen<br />

Formen, die den Kern dieses<br />

Stücks ausmachen, sind von<br />

eindrucksvollen Winkeln geprägt.<br />

Die Modelle weisen insgesamt eine<br />

deutliche Neigung auf und werden<br />

von breiten, robust geformten<br />

Stahlbeinen leicht angehoben.<br />

50.55<br />

48.49<br />

Steven Smith —<br />

Tsunami<br />

Tsunami is a fresh, unique and<br />

stunning design of distinctive<br />

character, proportions and<br />

presence. The modular format<br />

of the chair and table plus<br />

bench units work well in large<br />

atrium areas.<br />

Tsunami est un modèle exclusif,<br />

frais et surprenant, qui se distingue<br />

par son caractère, ses proportions<br />

et sa présence. Le format modulaire<br />

fauteuil et table plus banquettes<br />

convient parfaitement aux grands<br />

espaces d’accueil et foyers.<br />

Tsunami steht für frisches,<br />

einzigartiges und überraschendes<br />

Design, markant durch Charakter,<br />

Proportionen und Präsenz.<br />

Die modulare Funktionalität von<br />

Stuhl und Tisch sowie der<br />

Bankeinheiten eignet sich gut für<br />

große Atriumbereiche.<br />

<strong>Allermuir</strong> Portfolio — 5


Contents<br />

Section Two<br />

Chairs with Stools<br />

64.65<br />

<strong>Allermuir</strong> Design Team —<br />

Kojak<br />

Kojak is a striking collection<br />

with universal appeal offering<br />

extreme comfort and style.<br />

The range comprises of a<br />

slender side chair and<br />

armchair, both of which stack,<br />

with matching high stools.<br />

Kojak est une collection saisissante<br />

d’un charme universel qui allie style<br />

et confort extrême. La gamme<br />

comprend une chaise et un fauteuil<br />

aux formes élancées, qui sont tous<br />

les deux empilables, et un tabouret<br />

haut assorti.<br />

Kojak ist eine markante Kollektion<br />

mit universeller Wirkung, die sich<br />

durch höchsten Komfort und Stil<br />

auszeichnet. Sie besteht aus einem<br />

schlanken Stuhl, mit und ohne<br />

Armlehnen, in beiden Versionen<br />

stapelbar, ergänzt durch einen<br />

passenden Barhocker.<br />

6 — <strong>Allermuir</strong> Portfolio<br />

66.69<br />

John Coleman —<br />

Mollie<br />

A luxurious and satisfying<br />

design, Mollie displays both<br />

classic and contemporary<br />

elements. This versatile<br />

range comprises of a four<br />

leg armchair and high stool<br />

and a centre pedestal<br />

armchair and high stool, both<br />

of which swivel through 360˚.<br />

Modèle luxueux et plaisant,<br />

Mollie présente en même temps<br />

des éléments classiques et<br />

contemporains. Cette gamme<br />

polyvalente comprend un fauteuil<br />

quatre pieds, un fauteuil à pied<br />

central et un tabouret haut à pied<br />

central, ces deux derniers pouvant<br />

pivoter sur 360°.<br />

In überzeugendem, luxuriösem<br />

Design verbindet Mollie sowohl<br />

klassische als auch zeitgenössische<br />

Elemente. Diese vielseitige Reihe<br />

umfasst einen Sessel mit vier<br />

Beinen sowie einen Sessel und<br />

Barhocker mit einem Bein, die<br />

beide um 360º drehbar sind.<br />

70.73<br />

Simon Pengelly —<br />

Lara<br />

Lara is an elegantly<br />

proportioned and refined<br />

stacking chair with superb<br />

comfort and style. Available<br />

with or without arms its<br />

characteristics are reflected<br />

in the complementary<br />

stackable high stool.<br />

Lara est une élégante chaise<br />

empilable, aux proportions<br />

raffinées, dont le confort est aussi<br />

superbe que le style. Disponible<br />

avec ou sans accoudoirs, ses<br />

caractéristiques se retrouvent dans<br />

le tabouret haut empilable qui vient<br />

compléter la gamme.<br />

Lara ist ein elegant proportionierter,<br />

raffinierter stapelbarer Stuhl mit<br />

hervorragendem Komfort und Stil.<br />

Mit oder ohne Arme erhältlich. Seine<br />

Merkmale sind in dem Barhocker<br />

reflektiert, der die Reihe ergänzt.<br />

64.65<br />

66.69<br />

70.73


74.75<br />

76.77<br />

74.75<br />

Ton Haas —<br />

Mellow<br />

The Mellow series of chairs<br />

and stools is versatile in both<br />

function and use. Its simple<br />

construction is based on<br />

clean, crisp round or square<br />

upholstered shapes upon a<br />

compact Steel tube frame with<br />

optional Beech wood armrests.<br />

La série de chaises et tabourets<br />

Mellow est multi-fonctions et<br />

multi-usages. Sa construction<br />

simple a pour base les formes<br />

épurées et sobres, rondes ou<br />

carrées, de sa garniture montée<br />

sur une armature compacte en<br />

tubes d’acier avec, en option,<br />

des accoudoirs en hêtre.<br />

Die Stuhl- und Hockerreihe Mellow<br />

ist vielseitig sowohl in der Funktion<br />

als auch im Einsatz. Ihre einfache<br />

Konstruktion beruht auf klaren,<br />

hart geschnittenen runden oder<br />

quadratischen Polsterformen auf<br />

einem kompakten Stahlrohrgestell<br />

mit optionalen Armlehnen aus<br />

Buchenholz.<br />

76.77<br />

Pernille Svane Hansen —<br />

Scala<br />

This high stool and stacking<br />

side chair and armchair are of a<br />

timeless, classic nature, elegant,<br />

restrained and finely detailed.<br />

The slender tubular Steel frame<br />

with gently curving front legs,<br />

forms a compact footprint,<br />

while the curved seat and back<br />

provide excellent comfort.<br />

Ces tabourets, fauteuils et chaises<br />

empilables sont atemporels et<br />

classiques par nature, élégants,<br />

discrets et agrémentés de détails<br />

soignés. L’armature en minces<br />

tubes d’acier, avec des pieds<br />

avant légèrement galbés, se<br />

traduit par un encombrement<br />

au sol minime tandis que l’assise<br />

et le dossier arrondis assurent un<br />

confort excellent.<br />

Dieser Barhocker und stapelbare<br />

Stuhl mit und ohne Armlehne sind<br />

von zeitloser, klassischer Note,<br />

zurückhaltend und edel im Detail.<br />

Das zierliche Stahlrohrgestell mit<br />

sanft gewölbten Vorderbeinen<br />

bildet eine kompakte Standfläche,<br />

während die gewölbten Sitzflächen<br />

und Rückenlehnen hervorragenden<br />

Komfort bieten.<br />

78.79<br />

Fraser Lee —<br />

Scoop<br />

Visually minimal, Scoop is<br />

simple, compact and clever.<br />

Clever in that each item stacks.<br />

Simple construction; tubular<br />

Steel frames and pressed ply<br />

seats which give Scoop a<br />

freshness over and above the<br />

plethora of existing mono shell<br />

designs on the market.<br />

D’un aspect minimaliste, Scoop<br />

est un modèle simple, compact<br />

et astucieux. Astucieux parce<br />

que chaque siège est empilable.<br />

Construction simple ; armatures<br />

tubulaires en acier et assises en<br />

contreplaqué formé donnant à<br />

Scoop une apparence originale<br />

qui le place au-dessus de la<br />

pléthore de modèles monocoques<br />

qui existent sur le marché.<br />

In minimalistischer Optik ist Scoop<br />

schlicht, kompakt und intelligent.<br />

Intelligent durch die Stapelbarkeit<br />

jedes Stücks. Einfach in der<br />

Konstruktion: Stahlrohrgestelle<br />

und Sitze aus geformtem Spanholz<br />

verleihen Scoop die frische<br />

Optik, durch die er sich über die<br />

bestehenden Schalenmodelle des<br />

Marktes erhebt.<br />

78.79<br />

<strong>Allermuir</strong> Portfolio — 7


80.81<br />

Jonathan Harvey —<br />

50:50<br />

The split personality 50:50<br />

range comprises of a side<br />

chair and high stool, available<br />

in two contrasting materials,<br />

anodised Aluminium or Oak<br />

veneer.<br />

La double personnalité de la<br />

gamme 50:50 est composée<br />

d’une chaise et d’un tabouret haut<br />

disponibles dans deux matériaux<br />

contrastés, aluminium anodisé<br />

ou chêne plaqué.<br />

50:50, die Reihe der starken<br />

Gegensätze, umfasst einen Stuhl<br />

und Barhocker in zwei kontrastierenden<br />

Materialien, eloxiertem<br />

Aluminium oder Eichenfurnier.<br />

8 — <strong>Allermuir</strong> Portfolio<br />

80.81 84.85<br />

82.83<br />

82.83<br />

Amos Marchant &<br />

Lyndon Anderson —<br />

Luna<br />

The purity of polished cast<br />

Aluminium for the seating, along<br />

with Stainless Steel for the<br />

table tops, work to give Luna a<br />

truly space age look. Featuring<br />

a distinctive hole in the centre<br />

of the high stool and side chair<br />

seat, Luna is a highly desirable<br />

design, perfect for both interior<br />

and exterior schemes.<br />

La conjugaison de la pureté de<br />

l’aluminium coulé poli qui est utilisé<br />

pour le siège et de l’acier inoxydable<br />

des dessus de table contribue à<br />

donner à Luna un véritable look<br />

spatial. Avec un trou caractéristique<br />

au centre de l’assise du tabouret<br />

haut et de la chaise, Luna est<br />

un modèle très séduisant, parfait<br />

aussi bien pour les décors intérieurs<br />

qu’extérieurs.<br />

Die Reinheit von poliertem Guss-<br />

aluminium für die Sitze neben<br />

Edelstahl für die Tischplatten verleiht<br />

Luna in der Tat eine futuristische<br />

Optik. Mit einem markanten Loch<br />

in der Mitte des Barhockers und<br />

Stuhls ist Luna ein höchst attraktives<br />

Design, perfekt für Innen- wie für<br />

Außenräume.<br />

84.85<br />

John Coleman —<br />

Zupo<br />

This curvilinear chair and<br />

high stool design has elegant,<br />

tapering curved Beech<br />

legs and rails and a simple<br />

curvature backrest.<br />

Ce modèle de chaise et tabouret<br />

haut, d’aspect curviligne, est doté<br />

de montants et pieds en hêtre de<br />

forme fuselée, galbée et élégante,<br />

et d’un dossier légèrement incurvé.<br />

Dieses Design aus Stuhl und<br />

Hocker in runden Linien zeichnet<br />

sich durch elegante, sich<br />

verjüngende, geschwungene<br />

Beine und Verstrebungen aus<br />

Buchenholz sowie eine einfache<br />

geschwungene Rückenlehne aus.<br />

86.87<br />

Mark Gabbertas —<br />

Tommo<br />

Understated, contemporary<br />

and inviting, Tommo is a<br />

versatile design comprising<br />

of a club chair with matching<br />

footstool, a dining chair and<br />

high stool.<br />

Discret, contemporain et attrayant,<br />

Tommo est un modèle polyvalent<br />

qui comprend un fauteuil club avec<br />

repose-pied assorti, une chaise de<br />

salle à manger et un tabouret haut.<br />

Dezent, zeitgemäß und einladend<br />

– Tommo ist ein vielseitiges<br />

Modell, das einen Clubsessel<br />

mit passendem Fußhocker,<br />

einen Esszimmerstuhl und einen<br />

Barhocker umfasst.<br />

86.87


Contents<br />

Section Three<br />

Stools<br />

106.107<br />

Allemuir Design Team —<br />

Melfi<br />

The Melfi design is dramatic<br />

and eye-catching with its<br />

conical shape. It is available<br />

with or without a backrest<br />

and is suitable for application<br />

in a variety of environments,<br />

including hotel lounge bars,<br />

restaurants and bistros.<br />

La forme conique du modèle<br />

Melfi produit un effet dramatique<br />

qui ne manque pas d’attirer le<br />

regard. Il est disponible avec ou<br />

sans dossier et il convient à<br />

de nombreux environnements,<br />

y compris dans les bars d’hôtels,<br />

les restaurants et les cafés.<br />

Das Design Melfi ist mit seinen<br />

konischen Formen dramatisch<br />

und augenfällig. Es ist mit und<br />

ohne Rückenlehne erhältlich und<br />

eignet sich für den Einsatz in<br />

unterschiedlichsten Umgebungen,<br />

darunter Hotelbars, Restaurants<br />

und Bistros.<br />

100.101<br />

Peter Christian —<br />

Surf<br />

Surf is a lively, stunning<br />

and simple alternative to<br />

the traditional bar stool.<br />

The cantilevered, Beech<br />

veneer seat can be clear<br />

lacquered for a natural look,<br />

stained and lacquered, or<br />

block coloured for an intense,<br />

vibrant effect. Its adaptability<br />

makes it suitable for a wide<br />

variety of applications.<br />

Surf est une alternative à la fois<br />

simple, gaie et ravissante au<br />

tabouret de bar traditionnel.<br />

L’assise en porte-à-faux plaquée<br />

hêtre peut être laquée pour donner<br />

une apparence naturelle, teintée et<br />

laquée, ou proposée dans un<br />

coloris uni pour un effet éclatant et<br />

intense. Grâce à son adaptabilité,<br />

ce tabouret convient à une grande<br />

variété d’applications.<br />

Surf ist eine lebhafte, atemberaubende<br />

und doch schlichte<br />

Alternative zum traditionellen<br />

Barhocker. Der freischwingende<br />

Buchenfu rniersitz kann in<br />

natürlicher Optik durch Klarlack,<br />

gebeizt und lackiert oder<br />

blockgefärbt für eine intensive,<br />

dynamische Wirkung geliefert<br />

werden. Durch seine Anpassungsfähigkeit<br />

eignet er sich für eine<br />

Vielzahl von Anwendungen.<br />

106.107 102.105<br />

102.105<br />

Johnannes Foersom &<br />

Peter Hiort-Lorenzen —<br />

JoJo<br />

The striking, elegant and<br />

curvaceous form of the JoJo<br />

stool seat has an almost<br />

plastic characteristic due to the<br />

innovative 3D ply forming<br />

technology, providing arguably<br />

one of the most comfortable<br />

stool seat shapes possible.<br />

Les formes arrondies, élégantes<br />

et tout simplement stupéfiantes<br />

du tabouret JoJo ont pratiquement<br />

les caractéristiques du plastique<br />

en raison de la technologie innovante<br />

de moulage du contreplaqué en<br />

3D qui produit sans doute ici l’une<br />

des formes d’assise de tabouret<br />

les plus confortables possibles.<br />

Die erstaunliche, elegante,<br />

geschwungene Form des Hockers<br />

JoJo hat aufgrund der 3D-<br />

Technologie zur Spanholzformung<br />

eine fast plastische Wirkung und<br />

liefert vielleicht eine der bequemsten<br />

Hockersitzformen.<br />

100.101<br />

<strong>Allermuir</strong> Portfolio — 9


Contents<br />

Section Four<br />

Chairs<br />

120.123<br />

<strong>Allermuir</strong> Design Team —<br />

Casper<br />

Casper is a stylish and<br />

contemporary café and dining<br />

plastic monoshell stacking<br />

chair design. It is ideal for<br />

a manner of catering and<br />

hospitality environments in<br />

both the corporate and leisure<br />

markets as well as being ideal<br />

for modern applications.<br />

Casper est un modèle élégant<br />

et contemporain de chaise<br />

de café ou restaurant en plastique<br />

monocoque, empilable, qui convient<br />

à toutes sortes d’environnements,<br />

en hôtellerie-restauration et<br />

événementiel, aussi bien sur le<br />

marché des entreprises que des<br />

loisirs, et elle est également idéale<br />

pour des applications modernes.<br />

Casper ist ein eleganter,<br />

zeitgenössischer, stapelbarer<br />

Kunststoffschalenstuhl für Cafés<br />

und Speiseräume, Gastronomie-<br />

und Bewirtungsbereiche jeglicher<br />

Art in Firmen- wie in Freizeitmärkten<br />

und eignet sich insbesondere für<br />

moderne Anwendungen.<br />

126.129<br />

PearsonLloyd —<br />

Curve<br />

Curve utilises 3D ply forming<br />

technology to achieve<br />

extremely curvaceous and<br />

elegant forms, offering a high<br />

level of comfort and shape.<br />

This is a luxurious piece for<br />

the high end of the market,<br />

lending itself perfectly for dining<br />

and restaurant use, breakout<br />

spaces and meeting rooms.<br />

Curve exploite la technologie<br />

du moulage 3D du contreplaqué<br />

pour obtenir des formes<br />

extrêmement incurvées et<br />

élégantes assurant un très haut<br />

niveau de confort et d’esthétique.<br />

C’est un modèle de luxe, convenant<br />

au segment haut de gamme du<br />

marché, qui se prête parfaitement<br />

à une utilisation pour les banquets<br />

et la restauration, les espaces de<br />

détente et les salles de réunion.<br />

Curve nützt 3D-Technologie zum<br />

Formen von Spanholz, um eine<br />

elegante Form voller Kurven zu<br />

erzielen, die hochgradigen Komfort<br />

und edle Optik liefert. Ein Luxusstück<br />

für die höheren Marktbereiche,<br />

das sich perfekt für den Einsatz<br />

bei Essen und in Restaurants,<br />

arbeitsfreien Bereichen und<br />

Versammlungsräumen eignet.<br />

10 — <strong>Allermuir</strong> Portfolio<br />

124.125<br />

PearsonLloyd —<br />

Dine<br />

Dine is a fresh and elegant<br />

take on the classic monoshell<br />

chair type. This excellent<br />

ergonomic, laminated plywood<br />

form provides a comfortable<br />

seat for dining, meeting and<br />

general multi-purpose use.<br />

Dine est une nouvelle adaptation<br />

élégante de la chaise monocoque<br />

classique. Son excellente forme<br />

ergonomique en contreplaqué<br />

stratifié permet d’être assis<br />

confortablement lors de repas<br />

ou réunions, ou encore dans<br />

des applications plus générales.<br />

Dine ist die frische, elegante<br />

Weiterentwicklung des klassischen<br />

Schalensitzes. Die hervorragende<br />

ergonomische, beschichtete<br />

Spanholzform ermöglicht<br />

bequemes Sitzen bei Essen,<br />

Besprechungen und allgemeinen<br />

Mehrzweckeinsätzen.<br />

130.131<br />

Wolfgang C R Mezger —<br />

Kirkos<br />

Exclusively licensed from<br />

Davis Furniture Industries Inc;<br />

for the UK, Eire and Europe.<br />

The striking, generous and<br />

elegant Kirkos stacking chair<br />

takes its name from the Greek<br />

word, to encircle, a name<br />

that emphasises the unique<br />

shape that literally encircles<br />

the occupant, providing<br />

superb comfort.<br />

Fabriquée sous licence exclusive<br />

de Davis Furniture Industries Inc<br />

uniquement pour le Royaume-Uni<br />

et la République d’Irlande.<br />

La chaise empilable Kirkos aux<br />

formes remarquables, généreuses<br />

et élégantes tire son nom du mot<br />

grec qui signifie ‘encercler’, un nom<br />

qui met l’accent sur la forme unique<br />

qui encercle littéralement l’occupant<br />

et lui apporte un superbe confort.<br />

Mit exklusiver Lizenz von Davis<br />

Furniture Industries Inc nur für<br />

Großbritannien und Irland.<br />

Der atemberaubende, großzügige<br />

und elegante stapelbare Stuhl<br />

Kirkos erhält seinen Namen vom<br />

griechischen Wort für Kreis. Damit<br />

wird die einzigartige Form betont,<br />

die den Sitzenden sprichwörtlich<br />

wie ein Kreis umgibt und<br />

hervorragenden Komfort bietet.<br />

124.125<br />

126.129 130.131<br />

120.123


132.135<br />

140.141<br />

132.135<br />

PearsonLloyd —<br />

Soul<br />

Soul is a unique development<br />

in structural plastics achieving<br />

a stunning, elegant, yet robust<br />

cantilever design. The plastic<br />

shell provides a sophisticated<br />

seating platform that flexes<br />

and responds to the user’s<br />

movements.<br />

Soul est un développement<br />

exclusif en plastique de construction<br />

qui produit un modèle cantilever<br />

ravissant, élégant et pourtant<br />

robuste. La coque en plastique<br />

constitue un siège sophistiqué<br />

dont la flexibilité répond aux<br />

mouvements de l’utilisateur.<br />

Soul ist eine einzigartige<br />

Kunststoffkonstruktion, i<br />

n eleganter und doch robuster<br />

Freischwingerversion. Die<br />

Kunststoffschale bietet eine<br />

raffinierte biegsame Sitzplattform,<br />

die auf die Bewegungen des<br />

Benutzers reagiert.<br />

136.139<br />

Paul Brooks —<br />

Aura<br />

Aura is a superb die cast<br />

Aluminium framed stacking<br />

chair concept with distinctive<br />

character, proportions and<br />

presence, available with either<br />

an injection moulded plastic<br />

seat and back or upholstery.<br />

Aura est un superbe concept de<br />

chaise empilable à armature en<br />

aluminium moulé qui se distingue<br />

par son caractère, ses proportions<br />

et sa présence. Elle est disponible<br />

avec assise et dossier garnis ou<br />

en plastique moulé par injection.<br />

Aura, ein großartiges, stapelbares<br />

Stuhlkonzept mit Druckgussgestell,<br />

zeichnet sich durch markanten<br />

Charakter, Proportionen und<br />

Präsenz aus und ist mit Sitzfläche<br />

oder Rückenlehne aus<br />

formgespritztem Kunststoff oder<br />

gepolstert erhältlich.<br />

142.143<br />

140.141<br />

Steven Smith —<br />

Bug<br />

A family of contemporary chairs<br />

and tables, full of character,<br />

offering generous upholstered<br />

seats and backs and moulded<br />

polyurethane arms.<br />

Une famille de chaises et de<br />

tables contemporaine, pleine de<br />

caractère, dotée d’assises et<br />

dossiers généreusement garnis et<br />

d’accoudoirs en polyuréthane moulé.<br />

Eine Familie zeitgenössischer<br />

Stühle und Tische voller Charakter<br />

mit großzügig gepolsterten<br />

Sitzflächen und Rückenlehnen<br />

sowie geformten PU-Armen.<br />

142.143<br />

Steven Smith —<br />

Corpus<br />

Steven Smith’s Corpus design<br />

centres around a versatile,<br />

understated yet elegant and<br />

striking collection of multi-<br />

purpose stacking chairs.<br />

Aptly extended with reception<br />

seating, and cantilever armchair.<br />

Le modèle Corpus créé par Steven<br />

Smith est axé autour d’une collection<br />

polyvalente, discrète, et pourtant<br />

remarquable et pleine d’élégance,<br />

de chaises empilabl es<br />

multifonctions. Judicieusement<br />

élargie avec des sièges de<br />

réception et un fauteuil cantilever.<br />

Corpus, ein Design von Steven<br />

Smith, beruht auf einer vielseitigen,<br />

eindrucksvollen Kollektion<br />

stapelbarer Mehrzweckstühle<br />

von unauffälliger Eleganz.<br />

Sinnvoll erweitert durch<br />

Empfangsbestuhlung und einen<br />

Freischwingersessel.<br />

136.139<br />

<strong>Allermuir</strong> Portfolio — 11


Contents<br />

Section Five<br />

Benches<br />

12 — <strong>Allermuir</strong> Portfolio<br />

152.153<br />

152.153<br />

<strong>Allermuir</strong> Design Team —<br />

Casper<br />

Casper is available beam<br />

mounted in two, three or<br />

four seat lengths with optional<br />

intermediary or beam end<br />

tables. The sturdy, heavy<br />

load bearing, yet striking<br />

beam design is free standing<br />

as standard, but can be floor<br />

fixed as an option.<br />

Casper est disponible monté sur<br />

poutre d’une longueur de deux,<br />

trois ou quatre sièges avec, en<br />

option, des tables intercalées ou<br />

en bout de poutre. Ce modèle de<br />

poutre robuste, capable de supporter<br />

de lourdes charges, et pourtant<br />

d’une esthétique remarquable est<br />

simplement posé par terre dans sa<br />

version standard mais il est possible,<br />

en option, de le fixer au sol.<br />

Casper ist auf Trägern mit einer<br />

Länge von zwei, drei oder vier<br />

Sitzen montiert. Optionale Tische<br />

können zwischen den Sitzen<br />

oder am Trägerende vorgesehen<br />

werden. Die robuste, für eine<br />

schwere Belastung geeignete<br />

Trägerkonstruktion ist<br />

standardmäßig freistehend,<br />

kann aber wahlweise auch am<br />

Boden befestigt werden.<br />

154.155<br />

154.155<br />

Carsten Schmidt &<br />

Jens Bredsdorff —<br />

Wave<br />

This stunning design was<br />

a winning entry in a Danish<br />

competition and was chosen<br />

for its ability to express the<br />

use of formed laminate ply<br />

construction in beautiful and<br />

innovative ways suitable for<br />

mass production.<br />

Ce modèle étonnant a remporté<br />

un concours au Danemark et il a<br />

été choisi pour sa capacité à<br />

exprimer l’utilisation de la construction<br />

en contreplaqué stratifié moulé<br />

de diverses manières esthétiques<br />

et innovantes convenant à la<br />

production en série.<br />

Dieses beeindruckende Design<br />

war der Gewinner eines dänischen<br />

Wettbewerbs, bei dem<br />

Möbeldesigns gesucht wurden,<br />

die Formholzkonstruktionen auf<br />

ästhetische und innovative<br />

Weise einsetzen und die für die<br />

Massenproduktion geeignet sind.<br />

156.159<br />

Charlie Fowler —<br />

Linx<br />

A simple design concept<br />

which features single<br />

interlocking seat units, which<br />

connect together and pivot<br />

around each other via a Steel<br />

and Nylon linking mechanism.<br />

Ideal for galleries, museums,<br />

corporate reception areas<br />

and public spaces.<br />

Un concept simple reposant sur<br />

des sièges autonomes qui<br />

s’encastrent les uns dans les autres.<br />

Ils sont reliés entre eux et pivotent<br />

l’un autour de l’autre grâce à un<br />

mécanisme d’articulation en acier<br />

et nylon. Idéal pour les galeries<br />

d’art, les musées, les zones<br />

d’accueil dans les entreprises<br />

et les espaces publics.<br />

Ein einfaches Designkonzept<br />

aus einzelnen verschachtelten<br />

Sitzeinheiten, die sich<br />

miteinander verbinden lassen<br />

und sich über einen Stahl- oder<br />

Nylonmechanismus umeinander<br />

drehen. Ideal für Gallerien, Museen,<br />

Firmenempfangsbereiche und<br />

öffentliche Räume.<br />

156.159


Contents<br />

Section Six<br />

Tables<br />

176.177<br />

174.175<br />

174.175<br />

Steven Smith —<br />

Corpus<br />

The Corpus collection of<br />

tables complement a myriad<br />

of environments. The low level<br />

tables are a combination of<br />

Stainless Steel and diffused<br />

glass with the option to have<br />

a veneer or laminate top.<br />

La collection de tables Corpus<br />

agrémente une myriade<br />

d’environnements. Les tables<br />

basses allient l’acier inoxydable<br />

au verre diffusant avec l’option<br />

de plateau plaqué ou stratifié.<br />

Die Tischkollektion von Corpus<br />

passt sich an unterschiedlichste<br />

Umgebungen an. Die niedrigen<br />

Tische sind eine Kombination aus<br />

Edelstahl und Milchglas, wobei<br />

allerdings bei der Oberfläche auch<br />

Furnier oder Laminat gewählt<br />

werden kann.<br />

172.173<br />

176.177<br />

Carsten Schmidt &<br />

Jens Bredsdorff —<br />

Wave<br />

The Wave table is constructed<br />

using a well detailed Stainless<br />

Steel frame and a diffused<br />

glass top, making it a well<br />

balanced design for any<br />

building context.<br />

La table Wave est fabriquée avec<br />

une armature en acier inoxydable<br />

aux détails soignés et un plateau<br />

en verre diffusant qui en font un<br />

modèle bien équilibré convenant<br />

à tous les environnements.<br />

Der Wave-Tisch ist auf der<br />

Grundlage eines herrlich<br />

detaillierten Edelstahlgestells und<br />

einer Milchglasplatte konstruiert<br />

und liefert so ein ausgewogenes<br />

Design für alle Gebäudeformen.<br />

172.173<br />

PearsonLloyd —<br />

Conic<br />

Conic’s low level tables offer<br />

an almost domestic appeal<br />

whilst complementing a myriad<br />

of spaces and environments.<br />

Reposant sur des formes en métal<br />

chromé poli, les tables basses<br />

Conic ont un charme presque<br />

familial qui agrémente cependant<br />

une myriade d’espaces et<br />

environnements divers.<br />

Auf der Grundlage von Hochglanz-<br />

Chromdraht bieten die niedrigen<br />

Tische von Conic fast Wohnraum-<br />

Optik und fügen sich doch in eine<br />

Vielzahl von Räumen und<br />

Umgebungen ein..<br />

<strong>Allermuir</strong> Portfolio — 13


178.179<br />

180.181<br />

178.179<br />

PearsonLloyd —<br />

Open<br />

The Open collection of tables<br />

centres around a formed steel<br />

rod, base frame aesthetic<br />

supporting a choice of tops from<br />

round to more ‘super ellipses’.<br />

La collection de tables Open<br />

repose sur l’esthétique de ses<br />

pieds en tiges d’acier profilé<br />

supportant un choix de plateaux<br />

allant des formes rondes aux «<br />

super ellipses ».<br />

Die Tischkollektion Open dreht<br />

sich um einen Grundsockel aus<br />

geformtem Stahlstab, der eine<br />

attraktive Basis für eine Vielzahl<br />

von Tischplatten von runden<br />

Formen bis zu Superellipsen bietet.<br />

14 — <strong>Allermuir</strong> Portfolio<br />

182.183<br />

180.181<br />

Wolfgang C R Mezger —<br />

Lola<br />

Lola’s low level collection of<br />

tables are available with bright<br />

Chrome frames and a choice<br />

of laminate or veneer tops.<br />

La collection de tables basses Lola<br />

est disponible avec une armature<br />

en chrome brillant et une sélection<br />

de plateaux stratifiés ou plaqués.<br />

Lolas Kollektion tiefer Tische steht<br />

in leuchtenden Chromgestellen,<br />

wahlweise mit Laminat- oder<br />

Furnierplatten zur Verfügung.<br />

182.183<br />

<strong>Allermuir</strong> Design Team —<br />

Pause<br />

Pause tables have been<br />

carefully balanced to provide<br />

both high and low resting<br />

points which can work with<br />

a variety of products meeting<br />

a multitude of needs.<br />

Les tables Pause ont été<br />

soigneusement étudiées pour<br />

constituer des plans bas ou<br />

hauts où déposer des objets.<br />

Elles peuvent s’ajouter à une<br />

variété de produits et répondent<br />

à une multitude de besoins.<br />

Pause Tische wurden sorgfältig<br />

ausgewogen konstruiert, um<br />

sowohl hohe als auch niedrige<br />

Ruhepunkte zu schaffen, die mit<br />

einer Vielzahl von Produkten zu<br />

kombinieren sind und zahlreiche<br />

Anforderungen erfüllen.


184.187 188.189<br />

190.191<br />

46.47<br />

184.187<br />

<strong>Allermuir</strong> Design Team —<br />

A47/A48<br />

The A47 and A48 range of<br />

dining height tables have been<br />

designed to work universally<br />

across the portfolio, giving the<br />

specifier greater freedom to<br />

mix and match table and<br />

seating designs together.<br />

La gamme A47/A48 de tables de<br />

salle à manger a été conçue pour<br />

être associée à tous les modèles<br />

de notre portefeuille, accordant<br />

ainsi au client une plus grande<br />

liberté pour assortir tables et<br />

sièges.<br />

Die Tischreihe A47/A48 von<br />

Esstischhöhe wurde so entwickelt,<br />

dass sie über das gesamte<br />

Portfolio hinweg eingesetzt<br />

werden kann, wodurch größere<br />

Freiheit bei der Kombination<br />

und Abstimmung von Tisch- und<br />

Sitzmodellen besteht.<br />

188.189<br />

<strong>Allermuir</strong> Design Team —<br />

A574/5<br />

The A574/5 range of poser<br />

height glass top tables have<br />

been designed to work<br />

universally across the portfolio,<br />

giving the specifier greater<br />

freedom to mix and match<br />

table and seating designs<br />

together.<br />

La gamme A574/5 de tables de<br />

bar a été conçue pour être<br />

associée à tous les modèles de<br />

notre portefeuille, accordant ainsi<br />

au client une plus grande liberté<br />

pour assortir tables et sièges.<br />

Die Stehtischreihe A574/5 wurde<br />

so entwickelt, dass sie über<br />

das gesamte Portfolio hinweg<br />

eingesetzt werden kann, wodurch<br />

größere Freiheit bei der Kombination<br />

und Abstimmung von Tisch- und<br />

Sitzmodellen besteht.<br />

190.191<br />

Pernille Svane Hansen —<br />

Scala<br />

Scala is of a timeless, classic<br />

nature, elegant, restrained<br />

and finely detailed. The curved<br />

legs form a sturdy footprint<br />

which appeals to both leisure<br />

and corporate specifiers.<br />

Scala est atemporelle et classique<br />

par nature, élégante, discrète et<br />

agrémentée de détails soignés.<br />

Ses pieds légèrement galbés lui<br />

donnent une assise solide qui plait<br />

aux acheteurs du milieu des loisirs<br />

ou des affaires.<br />

Scala ist ein zeitlos zurückhaltendes,<br />

klassisch elegantes Design mit<br />

edlen Details. Die geschwungenen<br />

Beine bilden eine stabile Standfläche,<br />

die sowohl bei Spezifizierungen<br />

für Freizeiteinrichtungen als auch<br />

für Firmenanwendungen großen<br />

Zuspruch findet.<br />

192.193<br />

192.193<br />

Fraser Lee —<br />

Scoop<br />

Scoop’s compact and clever<br />

footprint enables the tables<br />

to be used across a plethora<br />

of environments.<br />

L’assise compacte et astucieuse<br />

de Scoop permet d’utiliser les<br />

tables dans une pléthore<br />

d’environnements.<br />

Scoops kompakte, intelligente<br />

Stellfläche erlaubt einen Einsatz<br />

der Tische in unterschiedlichsten<br />

Umgebungen.<br />

<strong>Allermuir</strong> Portfolio — 15


194.195<br />

Amos Marchant &<br />

Lyndon Anderson —<br />

Luna<br />

The Stainless Steel top<br />

gives Luna tables a truly<br />

contemporary look,<br />

perfect for both interior<br />

and exterior schemes.<br />

Le plateau en acier inoxydable des<br />

tables Luna leur donne un look<br />

vraiment contemporain, parfaites<br />

tant à l’intérieur qu’à l’extérieur.<br />

Die Edelstahloberfläche verleiht<br />

Luna Tischen einen wahrlich<br />

zeitgemäßen Look, der sich<br />

perfekt für Innen- und<br />

Außenanwendungen eignet.<br />

196.199<br />

16 — <strong>Allermuir</strong> Portfolio<br />

196.199<br />

<strong>Allermuir</strong> Design Team —<br />

Conference<br />

These tables tend to utilise<br />

larger tube sections and<br />

the footprint is greater to<br />

accommodate much larger<br />

top sizes for meeting and<br />

conference use.<br />

Ces tables ont tendance à<br />

utiliser des tubes de plus grand<br />

diamètre et les dimensions de son<br />

armature sont plus importantes<br />

pour permettre d’utiliser des<br />

surfaces de plateaux beaucoup<br />

plus larges qui peuvent servir<br />

pour les réunions et conférences.<br />

Bei diesen Tischen werden in der<br />

Regel größere Rohrdurchmesser<br />

und Stellflächen verwendet, um<br />

deutlich größere Tischplatten für<br />

den Einsatz bei Versammlungen<br />

und Konferenzen aufnehmen zu<br />

können.<br />

194.195


18 — <strong>Allermuir</strong> Portfolio<br />

Soft<br />

Seating


Section One<br />

Soft Seating<br />

Lola<br />

Tommo<br />

Conic<br />

Open<br />

Tubby<br />

Bison<br />

Venus<br />

Dandy<br />

Pebble<br />

Jaks<br />

Obelisk<br />

Tsunami<br />

Pause<br />

<strong>Allermuir</strong> Portfolio — 19


Section One<br />

Soft Seating<br />

Lola<br />

Design — Wolfgang C R Mezger<br />

Lola is a seductive, curving<br />

and shapely, yet strong and<br />

dependable collection. Like<br />

two cupped hands, this<br />

charismatic upholstered range<br />

comes in the form of a two-seat<br />

sofa and a chair, with dynamic<br />

four leg tubular Steel frames<br />

and swivel chair with a simple<br />

disc base. Providing excellent<br />

comfort Lola is suitable for<br />

reception foyers and atria, or for<br />

relaxing in corporate lounges<br />

and breakout areas.<br />

A820<br />

Chair with swivel base<br />

H745 D670 W770 SH440<br />

A822<br />

Sofa<br />

H745 D670 W1525 SH440<br />

20 — <strong>Allermuir</strong> Portfolio<br />

Lola est une collection pleine de<br />

séduction, aux lignes arrondies et<br />

harmonieuses, qui est également<br />

robuste et fiable. Telle deux mains<br />

formant une coupe, cette gamme<br />

tapissée de nature charismatique est<br />

proposée sous forme d’un canapé<br />

deux places et d’un fauteuil avec<br />

piétement dynamique constitué de<br />

quatre pieds en tubes d’acier, et d’un<br />

fauteuil pivotant avec un simple disque<br />

plat en acier à la base. Assurant un<br />

excellent confort, Lola convient aux<br />

foyers ou halls d’accueil et pour la<br />

relaxation dans les salles et espaces<br />

de détente des entreprises.<br />

A821<br />

Chair with four leg frame<br />

H745 D670 W770 SH440<br />

Lola ist eine verlockende Kollektion,<br />

wohlgeformt und voller Kurven, dabei<br />

aber gleichzeitig stark und zuverlässig.<br />

Diese faszinierende Polstermöbelreihe,<br />

die zwei gewölbten Händen gleicht,<br />

ist als Zweisitzersofa und als Sessel<br />

erhältlich, entweder mit dynamischen<br />

4-Bein-Stahlrohrgestell oder als<br />

Drehstuhl mit einfachem, flachem<br />

Stahlscheibenfuß. Durch ihren<br />

hervorragenden Komfort eignet sich<br />

die Reihe Lola für Empfangsfoyers und<br />

Atrien sowie zum Entspannen in Firmen-<br />

Lounges und arbeitsfreien Bereichen.


<strong>Allermuir</strong> Portfolio — 21


Section One<br />

Soft Seating<br />

Tommo<br />

Design — Mark Gabbertas<br />

Understated, contemporary<br />

and inviting, Tommo is a<br />

versatile design which is<br />

elegantly proportioned and<br />

stylish. All of the products in<br />

the collection feature slender<br />

upholstery with a twin stitch<br />

detail and a simple skid base.<br />

A530<br />

Club chair<br />

H810 D570 W560 SH480<br />

A531<br />

Footstool<br />

H315 D465 W465<br />

22 — <strong>Allermuir</strong> Portfolio<br />

Sobre, contemporain et accueillant,<br />

Tommo est un modèle polyvalent<br />

de grande classe aux proportions<br />

élégantes. Tous les produits de cette<br />

collection présentent un habillage<br />

raffiné avec double piqûre et un<br />

simple piétement traîneau.<br />

Understatement, zeitgemäß und<br />

einladend - Tommo ist ein vielseitiges<br />

Design von eleganten Proportionen<br />

und exquisitem Stil. Alle Produkte<br />

der Kollektion zeichnen sich durch<br />

die schlanke Polsterung mit<br />

Doppelnahtdetail und eine einfach zu<br />

verschiebenden Basis aus.


<strong>Allermuir</strong> Portfolio — 23


Section One<br />

Soft Seating<br />

A535<br />

Lounge chair<br />

H730 D630 W690 SH400<br />

24 — <strong>Allermuir</strong> Portfolio<br />

A536<br />

Sofa<br />

H730 D630 W1500 SH400


<strong>Allermuir</strong> Portfolio — 25


Section One<br />

Soft Seating<br />

Conic<br />

Design — PearsonLloyd<br />

Conic is a refreshing,<br />

eye-catching and exciting take<br />

on various conical forms used<br />

in both contemporary and<br />

previously explored areas of<br />

soft seating over the decades.<br />

Conic’s shape and form<br />

provide excellent and inviting<br />

levels of comfort with an<br />

almost domestic appeal,<br />

complemented by a family of<br />

related low tables, for a myriad<br />

of uses and spaces.<br />

A631<br />

Lounge chair with wire base<br />

H750 D795 W900 SH480<br />

A634<br />

Lounge chair with<br />

swivel ped base<br />

H750 D795 W900 SH480<br />

A630<br />

Tub chair with wire base<br />

H810 D660 W730 SH490<br />

26 — <strong>Allermuir</strong> Portfolio<br />

Conic est une variante originale,<br />

attrayante et tout à fait intéressante<br />

de diverses formes coniques utilisées<br />

à la fois dans les fauteuils et canapés<br />

modernes et dans ceux appartenant<br />

à des domaines explorés depuis des<br />

dizaines d’années. La forme du modèle<br />

Conic assure un niveau de confort<br />

excellent qui ne manque pas d’attirer<br />

par son charme presque familial.<br />

Complété par une famille de tables<br />

basses apparentées, Conic convient<br />

à une myriade d’usages et d’espaces.<br />

A632<br />

Lounge chair with integral<br />

headrest and wire base<br />

H1056 D810 W900 SH470<br />

A635<br />

Lounge chair with integral<br />

headrest and swivel base<br />

H1056 D810 W900 SH470<br />

A633<br />

Tub chair with<br />

swivel ped base<br />

H810 D660 W730 SH490<br />

A637<br />

Four leg tub chair<br />

H810 D600 W730 SH490<br />

Conic ist ein erfrischendes,<br />

augenfälliges und aufregendes Spiel<br />

mit verschiedenen konischen<br />

Formen, die im Laufe der Jahrzehnte<br />

sowohl bei modernen als auch bei<br />

klassischen gepolsterten Sitzmöbeln<br />

verwendet wurden. Conic überzeugt<br />

in Design und Form durch<br />

hervorragenden, einladenden Komfort,<br />

der beinahe Wohnmöbel-Qualität<br />

erreicht. Ergänzt wird es durch eine<br />

Reihe dafür entwickelter niedriger<br />

Tische für unzählige Anwendungen<br />

und Räumlichkeiten.


<strong>Allermuir</strong> Portfolio — 27


Section One<br />

Soft Seating<br />

28 — <strong>Allermuir</strong> Portfolio


<strong>Allermuir</strong> Portfolio — 29


Section One<br />

Soft Seating<br />

Open<br />

Design — PearsonLloyd<br />

Open is an elegant and<br />

relatively compact, contemporary<br />

collection of soft seating, with<br />

chair and sofa sharing a<br />

formed Steel rod, base-frame<br />

aesthetic. Angular and striking,<br />

they lend a physical lightness<br />

to the appeal of the design.<br />

The moulded seat shells and<br />

cushions with ‘bull nosed’ edge<br />

profile, economic detailing and<br />

tailored upholstery, provide<br />

great comfort, precise shape,<br />

a simple pleasing form, and<br />

visual slenderness.<br />

A640<br />

Lounge chair with<br />

swivel base<br />

H770 D820 W780 SH460<br />

A642<br />

Lounge chair with wire base<br />

H770 D760 W745 SH460<br />

A644<br />

Sofa<br />

H770 D760 W1600 SH460<br />

30 — <strong>Allermuir</strong> Portfolio<br />

Open est une élégante collection<br />

contemporaine de fauteuils et<br />

canapés relativement compacts.<br />

Le fauteuil et le canapé partagent la<br />

même esthétique avec un piétement<br />

en tiges d’acier profilé ; son étonnant<br />

aspect anguleux ajoute une légèreté<br />

physique au charme de ce modèle.<br />

Les coques moulées des sièges et<br />

les coussins aux bords arrondis, des<br />

détails discrets et un habillage ajusté<br />

assurent un grand confort, une forme<br />

épurée, des lignes simples et<br />

plaisantes et une élégance visuelle.<br />

A641<br />

Lounge chair with headrest<br />

and swivel base<br />

H1050 D860 W780 SH460<br />

A643<br />

Lounge chair with headrest<br />

and wire base<br />

H1050 D800 W745 SH460<br />

Open ist eine elegante,<br />

zeitgenössische Kollektion relativ<br />

kompakter, gepolsterter Sitzmöbel.<br />

Sessel und Sofa weisen dieselbe<br />

formbewusste Stahlstabkonstruktion<br />

auf. Die charakteristische kantige<br />

Optik vermittelt fast einen Eindruck<br />

von Schwerelosigkeit. Die geformten<br />

Sitzschalen und Polster mit gerundetem<br />

Profil, sparsamen Details und<br />

maßgeschneiderter Polsterung bieten<br />

großen Komfort, präzise Formen,<br />

eine schlichte, angenehme Optik<br />

und schlanke Linien.


<strong>Allermuir</strong> Portfolio — 31


Section One<br />

Soft Seating<br />

32 — <strong>Allermuir</strong> Portfolio


<strong>Allermuir</strong> Portfolio — 33


Section One<br />

Soft Seating<br />

Tubby<br />

Design — Mark Gabbertas<br />

Tubby is a refreshing,<br />

contemporary alternative to the<br />

traditional tub chair and sofa<br />

designs with complementary<br />

tables in a range of shapes<br />

and sizes. Simple, strong and<br />

elegantly shaped, Tubby<br />

features a veneered backrest<br />

and clean upholstery.<br />

Both the chairs and sofas are<br />

generous and luxurious,<br />

whilst the Tubbette chairs are<br />

more compact.<br />

A352<br />

Tubbette chair<br />

H750 D580 W550 SH460<br />

A355<br />

2 seat sofa<br />

H880 D730 W1400 SH480<br />

34 — <strong>Allermuir</strong> Portfolio<br />

Tubby est une alternative<br />

contemporaine et originale aux<br />

modèles traditionnels de canapé et<br />

fauteuil tonneau, proposée avec<br />

tables assorties dans une variété<br />

de formes et dimensions. Simple,<br />

robuste et de forme élégante, Tubby<br />

possède un dossier en hêtre plaqué<br />

et un habillage sobre. Les fauteuils<br />

et canapés sont spacieux et luxueux,<br />

tandis que les petits fauteuils Tubette<br />

sont plus compacts.<br />

A350<br />

Tubby chair<br />

H850 D710 W700 SH480<br />

A356<br />

3 seat sofa<br />

H880 D730 W1800 SH480<br />

Tubby ist eine erfrischend zeitgemäße<br />

Alternative zum traditionellen Design<br />

von Clubsessel und Sofa mit<br />

Beistelltischen in mehreren Formen und<br />

Größen. Einfache, starke und elegante<br />

Formen, Rückenlehne in Holzfurnier<br />

und klar geschnittene Polster. Sessel<br />

wie Sofas sind üppig und großzügig.<br />

Das Design der Tubbette-Sessel ist<br />

dagegen kompakter.


<strong>Allermuir</strong> Portfolio — 35


Section One<br />

Soft Seating<br />

Bison<br />

Design — Simon Pengelly<br />

Bison is a highly stylish and<br />

distinctive tub chair design with<br />

characterful broad shoulders<br />

and a compact footprint.<br />

For such a compact chair it<br />

provides a deceptively<br />

generous and comfortable sit,<br />

due in part to the subtle flexing<br />

of the arms, backrest and sprung<br />

seat. The moulded foam seat<br />

and back form, both elegant<br />

and striking, are enhanced by<br />

superb upholstery detailing.<br />

BN1<br />

Tub chair<br />

H810 W625 D580 SH480<br />

36 — <strong>Allermuir</strong> Portfolio<br />

HLT1<br />

Host table<br />

H599 W347 D347<br />

Bison est un modèle de fauteuil<br />

tonneau contemporain très élégant<br />

et distinctif avec un haut de dossier<br />

large et plein de caractère et un<br />

encombrement au sol minime.<br />

Pour un fauteuil aussi compact,<br />

on bénéficie d’un siège beaucoup<br />

plus spacieux et confortable qu’il<br />

ne paraît, en partie en raison de la<br />

subtile flexibilité des accoudoirs,<br />

du dossier et de l’assise tapissée.<br />

L’assise et le dossier en mousse<br />

moulée, d’une apparence à la fois<br />

élégante et saisissante, sont mis en<br />

valeur par les superbes détails de<br />

l’habillage.<br />

Bison ist ein höchst eleganter<br />

und zeitgemäßer Clubsessel mit<br />

charakteristischen breiten Schultern<br />

und kompakter Standfläche. Für<br />

einen so kompakten Stuhl bietet<br />

er, auch aufgrund der subtilen<br />

Biegung der Arme, Rückenlehne<br />

und gefederten Sitzfläche, eine<br />

überraschend großzügige und<br />

bequeme Sitzmöglichkeit. Sitzfläche<br />

und Rückenlehne aus geformten<br />

Schaumstoff, sowohl elegant als<br />

auch eindrucksvoll, erhalten durch<br />

erstklassige Polsterverarbeitung<br />

den letzten Schliff.


<strong>Allermuir</strong> Portfolio — 37


Section One<br />

Soft Seating<br />

Venus<br />

Design — Simon Pengelly<br />

Venus is a versatile, compact<br />

tub chair with a moulded<br />

foam body and sprung seat<br />

providing excellent comfort<br />

for both informal and formal<br />

meeting, conference and<br />

dining applications.<br />

The many practical features<br />

such as sloping arms,<br />

recessed under seat area<br />

and generous backrest have<br />

all been incorporated into the<br />

design with flowing lines and<br />

a refreshing profile that<br />

enhances the visual elegance<br />

of what is otherwise a very<br />

simple, classic styled tub chair.<br />

VS1<br />

Tub chair<br />

H845 D615 W640 SH465<br />

38 — <strong>Allermuir</strong> Portfolio<br />

Venus est un fauteuil tonneau compact<br />

aux multiples applications doté d’une<br />

structure en mousse moulée et d’une<br />

assise tapissée qui assurent un confort<br />

excellent pour les réunions formelles<br />

ou informelles, les conférences et les<br />

repas ou banquets.<br />

De nombreux détails pratiques comme<br />

des accoudoirs inclinés, un espace<br />

en retrait sous l’assise et un dossier<br />

généreux ont été inclus dans ce modèle<br />

dont les lignes fluides et la silhouette<br />

originale mettent en valeur l’élégance<br />

visuelle de ce qui ne serait autrement<br />

qu’un simple fauteuil tonneau de style<br />

classique.<br />

Venus ist ein äußerst vielseitiger und<br />

kompakter Stuhl. Der geformte<br />

Schaumstoffkörper und gefederte Sitz<br />

bieten hohen Komfort bei zwanglosen<br />

wie formellen Besprechungen,<br />

Konferenzen und Abendessen.<br />

Die zahlreichen praktischen Elemente<br />

wie die geneigten Armlehnen, der<br />

vertiefte Raum unter dem Sitz und<br />

die großzügige Rückenlehne wurden<br />

alle in ein Design fließender Linien von<br />

erfrischendem Profil aufgenommen,<br />

das die optische Eleganz eines<br />

ansonsten eher einfachen, klassischen<br />

Clubsessels hebt.


<strong>Allermuir</strong> Portfolio — 39


Section One<br />

Soft Seating<br />

Dandy<br />

Design — <strong>Allermuir</strong> Design Team<br />

Dandy is literally as its names<br />

suggests, an exceptionally well<br />

turned out sofa and armchair<br />

combination with classic style,<br />

simple proportions, clean lines,<br />

great comfort and broad appeal.<br />

This is a quiet, uncomplicated,<br />

conservative yet sophisticated<br />

design with a modernist<br />

aesthetic. While being highly<br />

functional and useful, it will not<br />

challenge or clash with most,<br />

if not all, interior spaces.<br />

A750<br />

Chair<br />

H790 D810 W800 SH420<br />

A752<br />

Chair (full arm)<br />

H790 D810 W800 SH420<br />

40 — <strong>Allermuir</strong> Portfolio<br />

Dandy est littéralement, comme son<br />

nom l’indique, un ensemble canapé<br />

et fauteuil d’une présentation<br />

exceptionnellement soignée dans<br />

un style classique, aux proportions<br />

simples et aux lignes sobres, doté<br />

d’un merveilleux confort et d’un<br />

charme infini. C’est un modèle discret,<br />

sans complications, traditionnel et<br />

pourtant raffiné avec une esthétique<br />

moderniste. Tout en étant extrêmement<br />

fonctionnel et pratique, il ne jure<br />

aucunement et s’harmonise avec<br />

pratiquement tous les décors d’intérieur.<br />

A751<br />

Sofa<br />

H790 D810 W1600 SH420<br />

A753<br />

Sofa (full arm)<br />

H790 D810 W1600 SH420<br />

Dandy ist, wie der Name schon<br />

andeutet, eine außergewöhnlich<br />

gelungene Kombination aus Sofa<br />

und Sessel in klassischem Stil,<br />

einfachen Proportionen und klaren<br />

Linien, die großen Komfort bietet und<br />

auf universellen Anklang gestoßen ist.<br />

Ruhiges, unkompliziertes, konservatives<br />

und doch raffiniertes Design mit<br />

futuristischer Ästhetik. Trotz seiner<br />

extremen praktischen Funktionalität fügt<br />

es sich doch harmonisch in die meisten,<br />

wenn nicht alle Innenräume ein.


<strong>Allermuir</strong> Portfolio — 41


Section One<br />

Soft Seating<br />

Pebble<br />

Design — <strong>Allermuir</strong> Design Team<br />

Pebble is a superb seating<br />

option for a multitude of<br />

informal meeting spaces<br />

or corporate breakout areas<br />

where people may come<br />

together for only a brief period<br />

to chat, to have a drink or just<br />

rest awhile. This comfortable<br />

design allows for user<br />

interactivity as it can be nested<br />

together with other Pebbles<br />

arranged in a scatter format,<br />

or even used individually as<br />

a stand alone piece.<br />

A620<br />

Pebble<br />

H430 D730 W730 SH430<br />

A622<br />

Pebble table<br />

H430 D730 W730 SH430<br />

42 — <strong>Allermuir</strong> Portfolio<br />

Pebble est une superbe option<br />

de sièges convenant à une multitude<br />

de cadres de rencontre informels<br />

ou aux espaces de détente dans<br />

les entreprises, là où les gens se<br />

rencontrent pendant seulement une<br />

courte période pour discuter,<br />

consommer une boisson ou tout<br />

simplement se reposer un moment.<br />

Ce modèle confortable permet<br />

l’interactivité des utilisateurs puisque<br />

les poufs Pebble peuvent s’imbriquer<br />

les uns dans les autres pour une<br />

disposition ‘étendue’ ou bien encore<br />

être utilisés tout seuls.<br />

A621<br />

Pebble Scallop<br />

H430 D730 W730 SH430<br />

Pebble ist ein exzellentes Sitzkonzept<br />

für die verschiedensten informellen<br />

Meetingbereiche oder arbeitsfreien<br />

Zonen, wo Mitarbeiter kurz<br />

zusammentreffen, um zu schwatzen,<br />

etwas zu trinken oder sich einfach zu<br />

entspannen. Sein Design ermöglicht<br />

Benutzern Interaktivität, da es mit<br />

anderen Pebbles gruppiert, verstreut<br />

arrangiert oder gestellt werden kann.


<strong>Allermuir</strong> Portfolio — 43


Section One<br />

Soft Seating<br />

Jaks<br />

Design — John Coleman<br />

Jaks works equally alone, or<br />

with its fun shapes interlocked<br />

and configured into exciting<br />

playful, tessellated patterns<br />

due to its modular nature<br />

and distinctive, graphic ‘cross’<br />

shape. This is a simple form and<br />

construction that economically<br />

provides seating for up to four<br />

people and facilitates meeting<br />

and greeting in informal spaces,<br />

or a comfortable seat for those<br />

who just want to take a break<br />

whilst also having somewhere to<br />

just perch their laptop for a while.<br />

JA1<br />

Bench<br />

H480 W1350 D1350 SH480<br />

JA2<br />

Stool<br />

H480 W450 D450 SH480<br />

44 — <strong>Allermuir</strong> Portfolio<br />

JA3T<br />

Table<br />

H380 D450 W450<br />

Jaks rend aussi bien tout seul que<br />

lorsqu’on encastre ses formes<br />

amusantes les unes dans les autres<br />

pour former les motifs d’une<br />

sensationnelle mosaïque ludique<br />

grâce à la nature caractéristique de<br />

ses modules en forme de ‘croix’. C’est<br />

une forme et une construction simple<br />

et économique qui permet d’asseoir<br />

jusqu’à quatre personnes et facilite les<br />

rencontres et l’accueil dans des<br />

espaces informels, ou qui constitue<br />

des sièges confortables pour ceux qui<br />

veulent simplement faire une pause<br />

tout en ayant un endroit où poser leur<br />

PC portable pendant un petit moment.<br />

Durch seine modulare Funktionalität<br />

und besondere, grafische Kreuzform<br />

wirkt Jaks einzeln ebenso stark wie in<br />

verbundener Form, konfiguriert zu<br />

verspielten, mosaikartigen Mustern.<br />

Die einfache Form und Konstruktion<br />

bietet bis zu vier Personen<br />

bequemen Platz zu einem günstigen<br />

Preis und ermöglicht so Treffen<br />

und Begegnungen in zwangloser<br />

Umgebung – oder eine entspannende<br />

Sitzmöglichkeit für alle, die eine Pause<br />

einlegen und nebenbei ihren Laptop<br />

eine Weile parken möchten


<strong>Allermuir</strong> Portfolio — 45


Section One<br />

Soft Seating<br />

Obelisk<br />

Design — Ross Didier<br />

Whilst Obelisk has a formality<br />

about it on the one hand, this<br />

has then been played with<br />

and some great twists added.<br />

The essentially rectangular<br />

forms that make up the body of<br />

this piece have striking angular<br />

facets, while the whole thing<br />

has a pronounced tilt and is<br />

slightly elevated on broad, sturdy<br />

formed Steel legs. The generous<br />

size, method of construction<br />

and excellent ergonomics<br />

provide superb comfort and<br />

personal space in both the<br />

chair and sofa.<br />

A610<br />

Chair<br />

H760 D1040 W950 SH420<br />

46 — <strong>Allermuir</strong> Portfolio<br />

Alors qu’Obelisk a un certain côté<br />

formel, on a joué avec celui-ci<br />

en lui apportant quelques touches<br />

originales. Les formes essentiellement<br />

rectangulaires qui constituent la partie<br />

principale de ce modèle ont des faces<br />

angulaires tout à fait surprenantes<br />

tandis que l’ensemble a une inclinaison<br />

marquée et est légèrement surélevé<br />

sur des pieds larges et robustes en<br />

acier profilé. Les dimensions<br />

généreuses, le mode de construction<br />

et l’excellente ergonomie assurent un<br />

espace personnel et un confort<br />

superbes tant dans le fauteuil que<br />

dans le canapé.<br />

A611<br />

Sofa<br />

H760 D1040 W1820 SH420<br />

Obelisks strenge Formalität wird<br />

durch einige spielerische,<br />

überraschende Veränderungen<br />

durchbrochen. Die im Wesentlichen<br />

rechteckigen Formen dieses<br />

Möbelstücks sind von eindrucksvollen<br />

Winkeln geprägt. Die Modelle weisen<br />

insgesamt eine deutliche Neigung<br />

auf und werden von breiten, robust<br />

geformten Stahlbeinen leicht<br />

angehoben. Die großzügigen Maße,<br />

die Konstruktionsweise und die<br />

hervorragende Ergonomie bieten<br />

sowohl beim Sessel als auch beim<br />

Sofa erstklassigen Komfort für die<br />

persönliche Distanzzone.


<strong>Allermuir</strong> Portfolio — 47


Section One<br />

Soft Seating<br />

Tsunami<br />

Design — Steven Smith<br />

Tsunami is a fresh, unique and<br />

stunning design of distinctive<br />

character, proportions and<br />

presence. The modular format<br />

of the chair and table plus bench<br />

units work well in large atrium<br />

areas where Tsunami can form<br />

a very powerful focal point<br />

and centrepiece, being equally<br />

attractive from all angles.<br />

A480<br />

Single seat unit<br />

H730 D760 W760 SH435<br />

A842<br />

Double bench unit<br />

H435 D625 W1520 SH435<br />

A843<br />

Triple bench unit<br />

H435 D625 W2280 SH435<br />

A844<br />

Table<br />

H235 D760 W760<br />

48 — <strong>Allermuir</strong> Portfolio<br />

Tsunami est un modèle unique en son<br />

genre, frais et surprenant, qui se<br />

distingue par son caractère, ses<br />

proportions et sa présence. Le format<br />

modulaire fauteuil et table plus<br />

banquettes convient parfaitement aux<br />

grands espaces d’accueil et foyers où<br />

le Tsunami peut constituer une pièce<br />

maîtresse et un véritable point de mire<br />

dans la pièce puisqu’il a le même<br />

attrait indéniable vu de tous les angles.<br />

A841<br />

Single bench unit<br />

H435 D625 W760 SH435<br />

Tsunami steht für frisches,<br />

einzigartiges und überraschendes<br />

Design, markant durch Charakter,<br />

Proportionen und Präsenz. Das<br />

modulare Format von Stuhl und Tisch<br />

sowie der Bankeinheiten eignet sich<br />

gut für große Atriumbereiche, wo<br />

Tsunami einen eindrucksvollen Fokus<br />

und Mittelpunkt schaffen kann, der<br />

von allen Seiten aus gleichermaßen<br />

attraktiv wirkt.


<strong>Allermuir</strong> Portfolio — 49


Section One<br />

Soft Seating<br />

Pause<br />

Design — <strong>Allermuir</strong> Design Team<br />

Pause is a mature and<br />

sophisticated version of<br />

the ubiquitous modular<br />

reception and breakout space<br />

seating system. The comfort<br />

of the core modules has been<br />

carefully balanced to provide a<br />

bench style sit, but with just the<br />

right degree of softness along<br />

with a supportive backrest.<br />

PSM100<br />

1 seat module<br />

H450 D750 W750 SH450<br />

50 — <strong>Allermuir</strong> Portfolio<br />

Pause est une version mûrie et<br />

sophistiquée du système modulaire<br />

omniprésent dans les espaces<br />

d’accueil et de détente. Le confort<br />

des modules au cœur de la gamme<br />

a été soigneusement pesé pour<br />

obtenir des sièges de style banquette<br />

certes, mais avec un dossier de<br />

soutien et exactement le niveau de<br />

moelleux qui convient.<br />

PSM200<br />

2 seat module<br />

H450 D750 W1500 SH450<br />

Pause ist eine ausgereifte, elegante<br />

Version des modularen Sitzsystems,<br />

das in Empfangsbereichen und<br />

arbeitsfreien Zonen allgegenwärtig<br />

ist. Der sorgfältig ausgewogene<br />

Komfort der Kernmodule schafft<br />

bankähnliche Sitze mit perfekt<br />

abgestimmter Sitzelastizität und<br />

stützender Rückenlehne.<br />

PSM207 (LH) / PSM206 (RH)<br />

2 seat module full back & corner back<br />

H830 D750 W1500 SH450<br />

Contact <strong>Allermuir</strong> for more details on full Pause range


<strong>Allermuir</strong> Portfolio — 51


Section One<br />

Soft Seating<br />

Pause<br />

Design — <strong>Allermuir</strong> Design Team<br />

The Pause range is augmented<br />

by the addition of mobile low<br />

stools, simple unfussy high<br />

stools, long low and high<br />

benches and sleek stylish<br />

power modules with<br />

accompanying screens.<br />

Working together, this creates<br />

an extensive, adaptable and<br />

simple modular system,<br />

capable of meeting a multitude<br />

of needs.<br />

PSSC1<br />

Screen<br />

H1660 D400 W900<br />

PSS042H<br />

Static high stool<br />

H780 D420 W420 SH780<br />

PSB154L<br />

Low bench<br />

H480 D420 W1500 SH480<br />

PSB214L<br />

Low bench<br />

H480 D420 W2100 SH480<br />

52 — <strong>Allermuir</strong> Portfolio<br />

Des tabourets bas mobiles, des<br />

tabourets hauts tout simples, de<br />

longues banquettes basses ou hautes,<br />

un choix de tables de différentes<br />

hauteurs et dimensions et des modules<br />

d’alimentation d’un style épuré et<br />

élégant, proposés en deux hauteurs,<br />

se combinent pour former tout un<br />

système modulaire, simple et évolutif,<br />

capable de répondre à une multitude<br />

de besoins.<br />

PSS042L<br />

Mobile low stool<br />

H480 D420 W420 SH480<br />

PSB154H<br />

High bench<br />

H720 D420 W1500 SH720<br />

PSB214H<br />

High bench<br />

H720 D420 W2100 SH720<br />

Bewegliche niedrige Hocker, einfache,<br />

unkomplizierte Barhocker, lange<br />

tiefe und hohe Bänke, eine Reihe<br />

von Tischen in verschiedenen Höhen<br />

und Größen und leistungsfähige<br />

Module von schnittigem Design in<br />

zwei Größen liefern zusammen ein<br />

umfassendes, anpassungsfähiges<br />

und einfaches modulares System,<br />

das unterschiedlichsten Anforderungen<br />

gerecht wird.<br />

Contact <strong>Allermuir</strong> for more details on full Pause range


<strong>Allermuir</strong> Portfolio — 53


54 — <strong>Allermuir</strong> Portfolio


<strong>Allermuir</strong> Portfolio — 55


Designers and manufacturers<br />

of contemporary furniture<br />

Portfolio<br />

High<br />

quality,<br />

contemporary<br />

seating and<br />

tables.


Designers and manufacturers<br />

of contemporary furniture<br />

Portfolio<br />

High<br />

quality,<br />

contemporary<br />

seating and<br />

tables.


62 — <strong>Allermuir</strong> Portfolio<br />

Chairs<br />

with<br />

Stools


Section Two<br />

Chairs with Stools<br />

Kojak<br />

Mollie<br />

Lara<br />

Mellow<br />

Scala<br />

Scoop<br />

50:50<br />

Luna<br />

Zupo<br />

Tommo<br />

<strong>Allermuir</strong> Portfolio — 63


Section Two<br />

Chairs with Stools<br />

Kojak<br />

Design — <strong>Allermuir</strong> Design Team<br />

Kojak is a striking collection<br />

with universal appeal offering<br />

comfort and contemporary<br />

style. Comprising of a slender<br />

stacking side chair and<br />

armchair along with matching<br />

high stools, also available with<br />

or without arms.<br />

Kojak is a clever, fluid design<br />

incorporating a structural<br />

framework within the moulded<br />

Polyurethane body with<br />

apertures in the same framework<br />

that allow the PU to ‘give’ and<br />

flex in predetermined places, in<br />

both seat and back, to facilitate<br />

an excellent level of comfort.<br />

A830<br />

Side chair<br />

H800 D520 W455 SH460<br />

A832<br />

High stool no arms<br />

H1080 D600 W470 SH750<br />

64 — <strong>Allermuir</strong> Portfolio<br />

Kojak est une collection saisissante<br />

d’un charme universel qui allie style et<br />

confort extrême. La gamme comprend<br />

une chaise et un fauteuil aux formes<br />

élancées, qui sont tous les deux<br />

empilables, et un tabouret haut assorti.<br />

Kojak est un modèle astucieux aux<br />

lignes fluides qui incorpore toute<br />

l’armature structurelle au sein de la<br />

coque en polyuréthane moulé de la<br />

chaise. Des ouvertures dans cette<br />

armature dissimulée permettent au<br />

PU de perdre sa rigidité et de fléchir<br />

en des points prédéterminés de<br />

l’assise et du dossier pour contribuer<br />

à un excellent niveau de confort.<br />

A831<br />

Armchair<br />

H800 D520 W530 SH460<br />

A833<br />

High stool with arms<br />

H1080 D600 W470 SH750<br />

Kojak ist eine markante Kollektion mit<br />

universeller Wirkung, die sich durch<br />

höchsten Komfort und Stil auszeichnet.<br />

Sie besteht aus einem schlanken<br />

Beistellstuhl und Sessel, die beide<br />

stapelbar sind, ergänzt durch einen<br />

passenden Barhocker.<br />

Kojak ist intelligentes, fließendes<br />

Design. Alle Strukturelemente sind<br />

im geformten Polyurethankörper des<br />

Stuhls verborgen. Durch Öffnungen<br />

im Gestell kann das PU-Material<br />

an den gewünschten Stellen von<br />

Sitzfläche und Rückenlehne<br />

nachgeben und sich verformen und<br />

so für hervorragenden Komfort sorgen.


<strong>Allermuir</strong> Portfolio — 65


Section Two<br />

Chairs with Stools<br />

Mollie<br />

Design — John Coleman<br />

A luxurious and satisfying design,<br />

Mollie displays both classic and<br />

contemporary elements. The<br />

range comprises of a four leg<br />

armchair and high stool and a<br />

centre pedestal armchair and<br />

high stool, both of which swivel<br />

through 360 degrees. Mollie is a<br />

versatile design that can<br />

enhance a vast array of interior<br />

styles being ideally suited to<br />

hotel and restaurant dining, bars,<br />

or corporate environments.<br />

A580<br />

Four leg chair<br />

H740 D530 W580 SH460<br />

A583<br />

Four leg high stool<br />

H1000 D500 W560 SH750<br />

66 — <strong>Allermuir</strong> Portfolio<br />

Modèle luxueux et plaisant, Mollie<br />

présente en même temps des<br />

éléments classiques et modernes.<br />

Cette gamme comprend un fauteuil<br />

quatre pieds ainsi qu’un fauteuil<br />

à pied central et un tabouret haut à<br />

pied central assortis, ces deux<br />

derniers pouvant pivoter sur 360˚.<br />

Mollie est un modèle polyvalent<br />

qui peut mettre en valeur toute une<br />

variété de styles d’intérieur et convient<br />

parfaitement aux salles de repas dans<br />

les hôtels et restaurants, aux bars ou<br />

aux environnements d’entreprises.<br />

A581<br />

Centre pedestal chair<br />

H740 D650 W650 SH460<br />

A582<br />

Centre pedestal high stool<br />

H1000 D500 W560 SH750<br />

In überzeugendem, luxuriösem<br />

Design verbindet Mollie sowohl<br />

klassische als auch zeitgenössische<br />

Elemente. Diese vielseitige Reihe<br />

umfasst einen Sessel mit vier Beinen<br />

sowie einen Sessel und Barhocker<br />

mit einem Bein, die beide um 360˚<br />

drehbar sind. Mollie ist ein vielseitiges<br />

Modell, das unterschiedlichste<br />

Innenräume bestens ergänzt und sich<br />

ideal für Hotel- und Restaurantbereiche,<br />

Bars oder Firmenräumlichkeiten eignet.


<strong>Allermuir</strong> Portfolio — 67


Section Two<br />

Chairs with Stools<br />

68 — <strong>Allermuir</strong> Portfolio


<strong>Allermuir</strong> Portfolio — 69


Section Two<br />

Chairs with Stools<br />

Lara<br />

Design — Simon Pengelly<br />

Fresh and uplifting, Lara’s<br />

understated aesthetic belies<br />

the complexity of the technology<br />

employed to achieve it, while<br />

displaying an intelligent use<br />

of those technologies and<br />

materials, in an honest and<br />

appropriate way. The result<br />

is an elegantly proportioned<br />

and refined stacking chair<br />

with superb comfort and style,<br />

with or without arms, whose<br />

characteristics are reflected in<br />

the complementary stackable<br />

high stool.<br />

A510<br />

Side chair<br />

H815 D560 W510 SH470<br />

A512<br />

High stool<br />

H870 D480 W500 SH750<br />

70 — <strong>Allermuir</strong> Portfolio<br />

Fraîche et tonique, l’esthétique<br />

discrète de Lara masque la complexité<br />

de la technologie utilisée pour la créer<br />

et démontre l’utilisation intelligente et<br />

véritablement appropriée de ces<br />

technologies et matériaux. Il en résulte<br />

une chaise empilable raffinée, aux<br />

proportions élégantes, dont le confort<br />

est aussi superbe que le style.<br />

Disponible avec ou sans accoudoirs,<br />

ses caractéristiques se retrouvent<br />

dans le tabouret haut empilable qui<br />

vient compléter la gamme.<br />

A511<br />

Armchair<br />

H815 D560 W560 SH470<br />

Die frische, unmittelbar ansprechende<br />

und zurückhaltende Optik von Lara<br />

täuscht über die Komplexität der<br />

Technologie zu ihrer Entwicklung<br />

hinweg und demonstriert gleichzeitig<br />

den intelligenten, ehrlichen und<br />

angemessenen Einsatz dieser<br />

Technologien und Materialien. Das<br />

Ergebnis ist ein elegant proportionierter,<br />

raffinierter stapelbarer Stuhl von<br />

erstklassigem Komfort und Stil. Mit und<br />

ohne Armlehnen. Die charakteristischen<br />

Merkmale finden sich auch in dem<br />

passenden stapelbaren Barhocker.


<strong>Allermuir</strong> Portfolio — 71


Section Two<br />

Chairs with Stools<br />

72 — <strong>Allermuir</strong> Portfolio


<strong>Allermuir</strong> Portfolio — 73


Section Two<br />

Chairs with Stools<br />

Mellow<br />

Design — Ton Haas<br />

Mellow is a contemporary<br />

and youthful restaurant or<br />

meeting chair, complemented<br />

by matching high stool. Its<br />

simple construction is based<br />

upon clean, crisp, rounded<br />

or alternatively square,<br />

upholstered shapes, upon<br />

a compact Steel tube frame.<br />

The geometric shapes make<br />

it fun, funky and youthful in<br />

strong modern colours, or cool<br />

and sophisticated in Chrome<br />

and subtle shades.<br />

A496<br />

Round side chair<br />

H820 D540 W460 SH460<br />

A490<br />

Square side chair<br />

H820 D540 W460 SH460<br />

A498<br />

Round high stool<br />

H1080 D535 W440 SH770<br />

A492<br />

Square high stool<br />

H1080 D515 W430 SH770<br />

74 — <strong>Allermuir</strong> Portfolio<br />

Mellow est une chaise à l’allure jeune<br />

et contemporaine pour restaurants ou<br />

réunions, accompagnée d’un tabouret<br />

haut assorti. Sa construction simple a<br />

pour base les formes épurées et<br />

sobres, soit rondes soit carrées, de sa<br />

garniture montée sur une armature<br />

compacte en tubes d’acier. Ses<br />

formes géométriques lui donnent un<br />

air jeune, sympathique et funky dans<br />

des couleurs vives et modernes, ou<br />

bien cool et sophistiqué avec l’emploi<br />

de chrome et de coloris plus subtils.<br />

A497<br />

Round armchair<br />

H820 D540 W590 SH460<br />

A491<br />

Square armchair<br />

H820 D540 W590 SH460<br />

Mellow ist ein zeitgemäßer,<br />

jugendlicher Stuhl für Restaurants<br />

oder Treffen, der durch einen<br />

passenden Barhocker ergänzt wird.<br />

Seine einfache Konstruktion beruht<br />

auf sauberen, klaren oder<br />

quadratischen gepolsterten Formen<br />

auf einem kompakten Stahlrohrgestell.<br />

Durch seine geometrischen Formen<br />

wirkt das Design in starken modernen<br />

Farben jung und witzig, in Chrom und<br />

subtilen Farbtönen kühl und raffiniert.


<strong>Allermuir</strong> Portfolio — 75


Section Two<br />

Chairs with Stools<br />

Scala<br />

Design — Pernille Svane Hansen<br />

Scala is a timeless, classic<br />

piece of Scandinavian design.<br />

It is elegant, restrained and finely<br />

detailed. The slender tubular<br />

frame with gently curving front<br />

legs form a compact footprint,<br />

while the curved seat and back<br />

provide excellent comfort.<br />

This chair and stool ultimately<br />

suits just about any kind of<br />

dining or bar situation.<br />

A410<br />

Side chair<br />

H795 D500 W520 SH470<br />

A410PB<br />

Side chair upholstered seat,<br />

wood back, no arms<br />

H795 D500 W520 SH470<br />

A410PBS<br />

Side chair<br />

un-upholstered, no arms<br />

H790 D500 W520 SH470<br />

76 — <strong>Allermuir</strong> Portfolio<br />

Scala est un exemple atemporel et<br />

classique de design scandinave.<br />

Ce modèle est élégant, discret et<br />

agrémenté de détails soignés.<br />

L’armature en minces tubes d’acier,<br />

avec des pieds avant légèrement<br />

galbés, se traduit par un<br />

encombrement au sol minime tandis<br />

que l’assise et le dossier arrondis<br />

assurent un confort excellent. En fin<br />

de compte, cette chaise et ce tabouret<br />

conviennent à pratiquement toutes les<br />

salles de restaurant ou de bar.<br />

A413<br />

Armchair<br />

H795 D500 W535 SH470<br />

A413PB<br />

Armchair upholstered seat,<br />

wood back arms<br />

H795 D500 W535 SH470<br />

A413PBS<br />

Armchair<br />

un-upholstered, arms<br />

H795 D500 W535 SH470<br />

A412<br />

High stool<br />

H1090 D570 W515 SH740<br />

A412PB<br />

High stool upholstered seat,<br />

wood back<br />

H1090 D570 W515 SH740<br />

A412PBS<br />

High stool un-upholstered<br />

H1090 D570 W515 SH740<br />

Scala ist zeitloses, klassisches<br />

skandinavisches Design. Es wirkt<br />

elegant, zurückhaltend und edel im<br />

Detail. Das zierliche Stahlrohrgestell<br />

mit sanft gewölbten Vorderbeinen<br />

bildet eine kompakte Standfläche,<br />

während die gewölbten Sitze und<br />

Rückenlehnen hervorragenden<br />

Komfort bieten. Stuhl und Hocker<br />

eignen sich optimal für praktisch<br />

jede Speise- oder Bareinrichtung.


<strong>Allermuir</strong> Portfolio — 77


Section Two<br />

Chairs with Stools<br />

Scoop<br />

Design — Fraser Lee<br />

Visually minimal, Scoop is<br />

simple, compact and clever.<br />

Clever in that each item<br />

stacks. Simple construction;<br />

tubular Steel frames and<br />

pressed ply seats with their<br />

own unique character give<br />

Scoop a freshness over and<br />

above the plethora of existing<br />

mono shell designs on the<br />

market. All seats are veneered<br />

with either a rich Alpi-Lignum<br />

design similar to Zebrano, or<br />

with a Beech veneer, which can<br />

be stained to achieve a choice<br />

of alternative shades.<br />

A432<br />

Side chair<br />

H890 D540 W510 SH455<br />

A430<br />

High stool<br />

H820 D450 W440 SH755<br />

78 — <strong>Allermuir</strong> Portfolio<br />

D’un aspect minimaliste, Scoop est<br />

un modèle simple, compact et<br />

astucieux. Astucieux parce que<br />

chaque siège est empilable.<br />

Construction simple : des armatures<br />

tubulaires en acier et des assises en<br />

contreplaqué formé tout à fait uniques<br />

donnent à Scoop une apparence<br />

originale qui le place au-dessus de<br />

a pléthore de modèles monocoques<br />

qui existent sur le marché. Tous les<br />

sièges sont plaqués ‘Alpi-Lignum’,<br />

semblable au placage bois Zebrano,<br />

qui peut être teint pour produire des<br />

tons différents. Ce modèle se prête<br />

parfaitement aux utilisations dans les<br />

restaurants, cafés et bars.<br />

A435<br />

Armchair<br />

H890 D540 W540 SH455<br />

In minimalistischer Optik ist Scoop<br />

schlicht, kompakt und intelligent.<br />

Intelligentes Design mit durchgehender<br />

Stapelbarkeit. Schlicht in der<br />

Konstruktion: Stahlrohrgestelle und<br />

Sitze aus Formholz mit ihrem ganz<br />

eigenen Charakter verleihen Scoop<br />

die frische Optik, durch die<br />

er sich über die bestehenden<br />

Schalenmodelle des Marktes erhebt.<br />

Alle Sitze sind mit einem üppigen<br />

Alpi-Lignum-Design furniert, ähnlich<br />

dem Zebrano-Furnier, und können<br />

auch auf andere Farbtöne gebeizt<br />

werden. Dieses Design passt ideal<br />

in Restaurants, Cafés und Bistros.


<strong>Allermuir</strong> Portfolio — 79


Section Two<br />

Chairs with Stools<br />

50:50<br />

Design — Jonathan Harvey<br />

The ‘split personality’ 50:50<br />

range comprises of a side<br />

chair and a high stool, available<br />

in two contrasting materials,<br />

anodised Aluminium or Oak<br />

veneer. Versatile and functional,<br />

the design is suitable for a<br />

wide range of environments<br />

including contemporary bars,<br />

cafés, bistros and corporate<br />

dining, with the Aluminium<br />

option being perfect for both<br />

indoor and outdoor applications.<br />

A560 Oak<br />

A550 Aluminium<br />

Side chair<br />

H800 D545 W530 SH455<br />

80 — <strong>Allermuir</strong> Portfolio<br />

La « double personnalité » de la<br />

gamme 50:50 est composée d’une<br />

chaise et d’un tabouret haut<br />

disponibles dans deux matériaux<br />

contrastés, aluminium anodisé ou<br />

chêne plaqué. Polyvalent et fonctionnel,<br />

ce modèle convient à une grande<br />

variété d’environnements, y compris<br />

les bars, brasseries ou cafés de style<br />

contemporain et les restaurants<br />

d’entreprise. L’option aluminium est<br />

parfaite pour les applications tant<br />

à l’intérieur qu’à l’extérieur.<br />

A562 Oak<br />

A552 Aluminium<br />

High stool<br />

H960 D495 W520 SH750<br />

50:50, die Reihe der starken<br />

Gegensätze, umfasst einen Stuhl und<br />

Barhocker in zwei kontrastierenden<br />

Materialien, eloxiertem Aluminium<br />

oder Eichenfurnier. Das vielseitige,<br />

funktionale Design eignet sich für<br />

eine Vielzahl von Einsatzbereichen,<br />

darunter moderne Bars, Cafés, Bistros<br />

und Kantinen. Die Aluminiumvariante<br />

ist sowohl für Innenräume als auch für<br />

Anwendungen im Freien perfekt.


<strong>Allermuir</strong> Portfolio — 81


Section Two<br />

Chairs with Stools<br />

Luna<br />

Design — Amos Marchant<br />

& Lyndon Anderson<br />

The purity of polished cast<br />

Aluminium for the seating, along<br />

with Stainless Steel for the table<br />

tops, work to give Luna a truly<br />

space age look. Contemporary<br />

clean lines and sensual form,<br />

matched with engineered<br />

detailing are consistent elements<br />

throughout the range, which<br />

comprises of a high stool,<br />

stacking chair and table.<br />

A300<br />

High stool<br />

H755 D505 W505 SH755<br />

82 — <strong>Allermuir</strong> Portfolio<br />

La conjugaison de la pureté de<br />

l’aluminium coulé poli qui est utilisé<br />

pour le siège et de l’acier inoxydable<br />

du plateau de la table contribue à<br />

donner à Luna un véritable look spatial.<br />

Des lignes sobres et modernes et une<br />

forme sensuelle, allant de pair avec la<br />

finition technique, sont des éléments<br />

constants à travers toute la gamme<br />

qui comprend un tabouret haut, une<br />

chaise empilable et une sélection de<br />

tables disponibles dans une variété<br />

de formes et dimensions.<br />

A302<br />

Side chair<br />

H750 D480 W430 SH450<br />

Die Reinheit von poliertem<br />

Gussaluminium der Sitze neben dem<br />

Edelstahl der Tischplatten verleiht<br />

Luna in der Tat eine futuristische<br />

Optik. Aktuelle klare Linien und<br />

sinnliche Formen, abgestimmt mit<br />

Verarbeitungsdetails treten konsequent<br />

in der gesamten Linie auf, die aus<br />

einem Barhocker, einem stapelbaren<br />

Stuhl und einer Auswahl von Tischen<br />

in unterschiedlichen Formen und<br />

Größen besteht.


<strong>Allermuir</strong> Portfolio — 83


Section Two<br />

Chairs with Stools<br />

Zupo<br />

Design — John Coleman<br />

The sensuous and curvilinear<br />

Zupo chair and high stool<br />

design has elegant tapering<br />

curved Beech legs and rails<br />

and a single curvature backrest.<br />

The chair is available with or<br />

without armrests and offers the<br />

best in contemporary luxury<br />

and comfort, as has been<br />

proven in both corporate and<br />

restaurant applications.<br />

A310<br />

Side chair upholstered<br />

H835 D540 W450 SH460<br />

A310PB<br />

Side chair wood back<br />

H835 D540 W450 SH460<br />

A312<br />

High stool upholstered<br />

H995 D460 W450 SH750<br />

A312PB<br />

High stool wood back<br />

H995 D460 W450 SH750<br />

84 — <strong>Allermuir</strong> Portfolio<br />

La chaise et le tabouret haut Zupo,<br />

à l’aspect curviligne et sensuel, sont<br />

dotés de montants et pieds en hêtre<br />

de forme fuselée, galbée et élégante,<br />

et d’un dossier légèrement incurvé.<br />

La chaise est proposée avec ou sans<br />

accoudoirs et elle offre tout ce qu’il y a<br />

de mieux en matière de luxe et confort<br />

contemporains, comme cela a été<br />

prouvé dans des applications en<br />

entreprise ou dans les restaurants.<br />

A311<br />

Armchair upholstered<br />

H835 D545 W550 SH460<br />

A311PB<br />

Armchair wood back<br />

H835 D545 W550 SH460<br />

Das sinnliche Design und die runden<br />

Linien des Stuhls und Hockers Zupo<br />

zeichnen sich durch elegante, sich<br />

verjüngende, geschwungene Beine<br />

und Verstrebungen aus Buchenholz<br />

sowie eine einfache geschwungene<br />

Rückenlehne aus. Der Stuhl ist mit<br />

oder ohne Armlehnen erhältlich und<br />

bietet besten zeitgenössischen Luxus<br />

und Komfort, der sich sowohl in<br />

Firmen- als auch in Restaurantanwendungen<br />

behauptet hat.


<strong>Allermuir</strong> Portfolio — 85


Section Two<br />

Chairs with Stools<br />

Tommo<br />

Design — Mark Gabbertas<br />

To complement the lounge<br />

seating, the Tommo range<br />

also includes a dining chair<br />

and high stool. The dining chair<br />

has a tapering seat pad and<br />

sloping arms, whilst the high<br />

stool offers more than just a<br />

perch. All of the products in<br />

the range offer a high level of<br />

comfort, further enhanced by<br />

a concealed flexible backrest.<br />

Tommo is perfect for a wide<br />

variety of applications and<br />

can be specified with a broad<br />

selection of tables.<br />

A532<br />

Dining chair<br />

H790 D550 W560 SH490<br />

86 — <strong>Allermuir</strong> Portfolio<br />

En complément des sièges de salon,<br />

la gamme Tommo comprend<br />

également une chaise de salle à<br />

manger et un tabouret haut. La chaise<br />

a un coussin d’assise au bord aminci<br />

et des accoudoirs inclinés, et le<br />

tabouret haut est plus qu’un simple<br />

perchoir. Tous les produits de la<br />

gamme assurent un très haut niveau<br />

de confort, amélioré encore par un<br />

dossier flexible dissimulé. Tommo est<br />

parfaite pour une grande variété<br />

d’applications et peut être commandée<br />

avec une large sélection de tables.<br />

A534<br />

High stool<br />

H830 D480 W480 SH750<br />

Zur Vervollständigung der Lounge-<br />

Sitzmöbel umfasst die Reihe Tommo<br />

auch einen Esszimmerstuhl und einen<br />

Barhocker. Der Esszimmerstuhl<br />

verfügt über eine sich verjüngende<br />

Sitzfläche und geneigte Armlehnen,<br />

der Barhocker ist ungewöhnlich<br />

bequem. Alle Produkte der Reihe<br />

bieten ein hohes Maß an Komfort,<br />

der durch die unsichtbare, flexible<br />

Rückenlehne noch weiter gesteigert<br />

wird. Tommo ist ideal für ein breites<br />

Anwendungspektrum und kann mit<br />

einer großen Auswahl an Tischen<br />

geliefert werden.


<strong>Allermuir</strong> Portfolio — 87


“ Really great people<br />

make you feel that you<br />

too, can become great”<br />

Mark Twain<br />

<strong>Allermuir</strong> Portfolio — 89


90 — <strong>Allermuir</strong> Portfolio<br />

Luke Pearson —<br />

Co-designer: Conic/Curve/<br />

Dine/Open/Soul<br />

Luke Pearson first met Tom<br />

Lloyd whilst studying at London’s<br />

prestigious Royal College of<br />

Art. They formed their award<br />

winning product and furniture<br />

design consultancy in 1997,<br />

having spent a number of years<br />

working independently of each<br />

other for other highly acclaimed<br />

design studios. They have<br />

created stunning solutions for<br />

a variety of international clients,<br />

including manufacturers,<br />

consumer brands and<br />

government organisations.<br />

Johannes Foresom<br />

& Peter Hiort-Lorenzen —<br />

JoJo<br />

Danes Johannes Foresom<br />

and Peter Hiort-Lorenzen are<br />

two of the most eminent<br />

Scandinavian designers of the<br />

last twenty years or so. Based<br />

in Copenhagen, Denmark,<br />

they formed their partnership in<br />

1977 and continue to enjoy<br />

international recognition due<br />

to their extensive and enduring<br />

design and development skills.<br />

Q&A<br />

What do you consider to be<br />

the greatest challenge when<br />

designing a chair? There are<br />

multiple challenges. Maybe for<br />

me they can be summed up as<br />

beauty and efficiency in<br />

harmony.<br />

If you could have designed<br />

one of the design classic<br />

chairs, which would it be and<br />

why? 3107 its beautiful and<br />

refined mechanically.<br />

Who inspired you to become<br />

a designer? Parents<br />

encouraging me to follow my<br />

instinct and passion from an<br />

early age. It wasn’t a conscious<br />

decision rather than a decision<br />

not to do anything else.<br />

What is your design<br />

philosophy? Innovation,<br />

elegance, efficiency.<br />

Which product broke the<br />

rules and re-defined the<br />

archetype? The mini.<br />

Do you see sustainable<br />

design as liberating<br />

or limiting? It’s essential<br />

therefore the emotive element<br />

is somewhat redundant.<br />

What is your favourite album?<br />

Iggy Pop and the Stooges,<br />

Raw Power.<br />

Q&A — Johannes Foresom<br />

What do you consider to be<br />

the greatest challenge when<br />

designing a chair? To make<br />

a chair that hasn’t been made<br />

before. A chair that is its own,<br />

but still has the authority.<br />

Who inspired you to become<br />

a designer? My father gave<br />

me a book about Hans Jørgen<br />

Wegner. I think I thought to<br />

myself back then that there was<br />

something I could do better.<br />

What is your design<br />

philosophy? Follow your heart.<br />

What is the strangest thing<br />

that has inspired you?<br />

Everything that inspires me<br />

is a little bit weird. For example<br />

a certain way the light hits a<br />

certain room.<br />

Do you see sustainable<br />

design as liberating<br />

or limiting? Sustainable design<br />

becomes more and more a<br />

necessity. Take it or leave it.<br />

What aspects of the contract<br />

furniture market frustrates<br />

you the most? As a<br />

designer I don’t have any<br />

specific frustrations.<br />

What question would you<br />

have liked to answer?<br />

What do you like about your<br />

own design?<br />

What are you reading right<br />

now? I don’t read fiction I don’t<br />

have time. So for me its a<br />

constant process of reading<br />

about my two passions, Art and<br />

Science. The web has made<br />

this very accessible and fast.<br />

What is the strangest thing<br />

that has inspired you? My<br />

Father’s ability, as a painter, to<br />

solve my physics equations<br />

through viewing them<br />

differently. It taught me to<br />

always look twice and never<br />

say I can’t do it.<br />

What is your favourite film?<br />

Fargo.<br />

What question would you<br />

have liked to answer? E=mc 2 .<br />

Q&A — Peter Hiort-Lorenzen<br />

What do you consider to be<br />

the greatest challenge when<br />

designing a chair? The chair<br />

is the most sensuous furniture<br />

because it combines body,<br />

form, material and construction<br />

with a long list of psychological<br />

factors such as aesthetics’,<br />

comfort, status as well as<br />

history and present combined<br />

in one. It is a fascinating work of<br />

design, when and if that<br />

succeeds.<br />

Who inspired you to become<br />

a designer? My apprenticeship<br />

as a shipping carpenter at<br />

Helsingør Shipyard. Ships were<br />

an example of total design in<br />

Denmark in the 1950’s.<br />

What is your design<br />

philosophy? It is an impossible<br />

question to answer, as it is<br />

extensive and not one but<br />

many philosophies. For<br />

example; the highest possible<br />

industrial quality for the lowest<br />

possible price; that the<br />

experimental playfulness with<br />

form, construction and material<br />

always is a part of the design<br />

work; knowledge and studies<br />

of social and psychological<br />

behaviour patterns always is<br />

a part of the design work.<br />

Which product broke the rules<br />

and re-defined the archetype?<br />

The Memphis Design Group<br />

in Milan played a part in the<br />

fact that design became more<br />

playful in the 1980’s.


Simon Pengelly —<br />

Bison/Lara/Venus<br />

Simon Pengelly graduated from<br />

Kingston Polytechnic with a BA<br />

Hons degree in Furniture and<br />

Related product Design in 1988.<br />

After honing his wide range of<br />

skills in well-known design<br />

studios he founded Pengelly<br />

Design in 1993. Simon’s affinity<br />

with and understanding of<br />

materials and processes is<br />

fundamental to his approach,<br />

combined with a passionate<br />

desire to create accessible<br />

production furniture with soul.<br />

Q&A<br />

What do you consider to be<br />

the greatest challenge when<br />

designing a chair? The<br />

generic answer is of course<br />

balancing the aesthetic and<br />

the function requirements. My<br />

specific challenge is making<br />

happen what is in my head.<br />

Q&A<br />

What do you consider to be<br />

the greatest challenge when<br />

designing a chair? Originality<br />

that also benefits the user.<br />

Who inspired you to become<br />

a designer? Carlo Mollino and<br />

Jeff Koons.<br />

What is your design<br />

philosophy? My design<br />

nirvana is that connection<br />

between sculptural concept<br />

and function.<br />

Which product broke the<br />

rules and re-defined the<br />

archetype? Joe Colombo’s<br />

Boby trolley… utilitarian magic!<br />

Do you see sustainable<br />

design as liberating<br />

or limiting? ‘Essential’.<br />

If you could have designed<br />

one of the design classic<br />

chairs, which would it be and<br />

why? Mart Stam’s cantilever<br />

chair. It revolutionised the way<br />

chairs were designed and<br />

perceived as well as introducing<br />

a new way of sitting. This chair<br />

looks entirely contemporary<br />

today. Extraordinary.<br />

Who inspired you to become<br />

a designer? Everybody was<br />

too busy telling me not to do it.<br />

Which product broke the<br />

rules and re-defined the<br />

archetype? Historically<br />

anything by the Eames’ –<br />

their designs represented the<br />

most significant step change<br />

in design approach. The early<br />

work of Citterio has been<br />

similarly important.<br />

What is your favourite album?<br />

Tender Prey – Nick Cave and<br />

the Bad Seeds.<br />

What are you reading right<br />

now? An atlas.<br />

What is the strangest thing<br />

that has inspired you?<br />

Cow udders…<br />

What is your favourite film?<br />

The Big Blue.<br />

What aspects of the contract<br />

furniture market frustrates<br />

you the most? Those inspired<br />

plans that are finally dictated by<br />

cheap alternatives.<br />

What question would you<br />

have liked to answer? Where<br />

in the world are you planning<br />

your next road trip?<br />

What is your favourite album?<br />

I am in the process of falling in<br />

love with Bruckner again.<br />

What are you reading right<br />

now? Patrick Gale’s ‘Notes<br />

from an exhibition’. Those who<br />

have read it will know why..<br />

What is your favourite film?<br />

Fellini’s Roma. All those<br />

roller-skating bishops.<br />

What aspects of the contract<br />

furniture market frustrates<br />

you the most? It doesn’t really.<br />

I find the domestic market far<br />

more difficult.<br />

What question would you<br />

have liked to answer?<br />

Do you remember that<br />

apocryphal exam question –<br />

‘Is this a question?’<br />

Ross Didier —<br />

Obelisk<br />

Ross Didier resides in Melbourne,<br />

Australia where his family’s<br />

manufacturing business is based.<br />

Ross has BA Degrees in both Fine Art<br />

Sculpture and Industrial Design from<br />

the Royal Melbourne Institute of<br />

Technology, leading to his fascination<br />

of interlinking concept, form and<br />

function. He exhibited his sculptures<br />

and designs at home and abroad<br />

before establishing his design studio<br />

in 1998, designing products for interior<br />

and architectural projects.<br />

Mark Gabbertas —<br />

Tommo/Tubbette/Tubby<br />

Mark Gabbertas set up his design studio<br />

and workshop in 1993. Mark was awarded<br />

the Seating in Practice award for his ‘3º’<br />

range of chairs and tables for the Atelier<br />

Restaurant in Soho, London and was a<br />

finalist at the prestigious FX International<br />

Interior Design Awards in 1999 for Tubby.<br />

<strong>Allermuir</strong> Portfolio — 91


John Coleman —<br />

Jaks/Mollie/Zupo<br />

John Coleman is a renowned<br />

designer who has studiously<br />

worked on an endless list of<br />

prestigious commissions for<br />

corporate, leisure and private<br />

clients since graduating from<br />

the Royal College of Art in 1970.<br />

John’s work has been extensively<br />

commissioned, exhibited<br />

and published worldwide.<br />

92 — <strong>Allermuir</strong> Portfolio<br />

Q&A<br />

If you could have designed<br />

one of the design classic<br />

chairs, which would it be and<br />

why? Lots to choose from, but<br />

probably the S43 cantilever<br />

chair by Mart Stam (which<br />

launched countless imitations):<br />

designed in 1931 and still in<br />

production, easily answers all<br />

the above challenges, very<br />

comfortable, using the natural<br />

spring of the tube and formed<br />

ply seat/back. Visually light and<br />

exciting; still feels revolutionary<br />

even after 87 years. Minimalist<br />

construction and production:<br />

one length of tube, 2 ply’s,<br />

8 bolts and a pair of tube end<br />

caps. All in all quite brilliant.<br />

I’m sitting – very comfortably<br />

– on a 1936 original!<br />

Q&A<br />

What do you consider to be<br />

the greatest challenge when<br />

designing a chair? Combining<br />

comfort, elegance and simplicity.<br />

If you could have designed<br />

one of the design classic<br />

chairs, which would it be?<br />

The Superlegera by Gio Ponti.<br />

Who inspired you to become<br />

a designer? My family.<br />

What is your design<br />

philosophy? Simplicity, joy,<br />

surprise, beauty.<br />

What is your design<br />

philosophy? Simple,<br />

straightforward answers.<br />

Which product broke the<br />

rules and re-defined the<br />

archetype? The S43!<br />

Do you see sustainable<br />

design as liberating<br />

or limiting? Liberating!<br />

Designers and consumers<br />

both have to be responsible<br />

with resources, being<br />

sustainable is not just about<br />

recycling. This re-adjustment<br />

of the economic climate<br />

will perhaps do more to<br />

help the planet than any<br />

amount of world summits –<br />

interesting times.<br />

Tom Lloyd —<br />

Co-designer: Conic/Curve/<br />

Dine/Open/Soul<br />

Tom Lloyd met Luke Pearson<br />

whilst studying at London’s<br />

prestigious Royal College of<br />

Art. They formed their award<br />

winning product and furniture<br />

design consultancy in 1997,<br />

having spent a number of<br />

years working independently<br />

of each other for other highly<br />

acclaimed design studios.<br />

They have created stunning<br />

solutions for a variety of<br />

international clients, including<br />

manufacturers, consumer<br />

brands and government<br />

organisations.<br />

Which product broke the<br />

rules and re-defined the<br />

archetype? The light bulb.<br />

Do you see sustainable<br />

design as liberating or<br />

limiting? Liberating.<br />

What is your favourite album?<br />

Mozart’s Requiem Mass.<br />

What are you reading right<br />

now? Barack Obama’s<br />

‘Dreams from my Father’.<br />

What is the strangest thing<br />

that has inspired you?<br />

Rock formations in Ireland.<br />

What is your favourite film?<br />

Cinema Paradiso.<br />

What aspects of the contract<br />

furniture market frustrates<br />

you the most? Its slow<br />

response to changes in society<br />

and technology.<br />

What question would you<br />

have liked to answer?<br />

How can you supply perpetual<br />

motion?<br />

What is the strangest thing<br />

that has inspired you?<br />

Amongst others, the Jantar-<br />

Mantars in India, built in the<br />

early 18th Century to observe<br />

the stars and answer the<br />

human need to understand our<br />

place in time and space.<br />

Looking at the images they<br />

could almost be sculptures, or<br />

come from much later<br />

architecture. Cubism combined<br />

with scarily complex geometry<br />

and almost impossible<br />

engineering (built to an<br />

apparent tolerance of .01˚).<br />

What question would you<br />

have liked to answer? Can<br />

you design us the next S43?<br />

Jonathan Harvey —<br />

50:50<br />

Jonathan Harvey graduated<br />

from Buckinghamshire Brunel<br />

University in 1998 with a degree<br />

in Furniture and Related<br />

Product Design. A year later he<br />

founded JGH Design and his<br />

projects have encompassed<br />

both furniture and interior<br />

design for a number of major<br />

blue chip clients.<br />

Steven Smith —<br />

Bug/Corpus/Tsunami<br />

Steven Smith graduated from<br />

Buckinghamshire College, High<br />

Wycombe in 1983 with an MA<br />

in Furniture Design, following<br />

his 3D Design degree from<br />

Birmingham Polytechnic. He<br />

gained valuable experience<br />

with the ‘Crown suppliers’,<br />

before becoming a freelance<br />

designer in 1991. The Bug chair<br />

was a finalist in the FX<br />

International Interior Design<br />

Awards in 2000.


Amos Marchant —<br />

Co-designer: Luna<br />

Amos Marchant graduated<br />

from Kingston polytechnic in<br />

1987 and after six years<br />

consultancy experience joined<br />

together with Lyndon Anderson<br />

to establish ‘Blue’, specialising<br />

in the design of furniture,<br />

lighting and artefacts. ‘Blue’ has<br />

since disbanded, with Amos<br />

teaching and continuing as a<br />

consultant.<br />

Q&A<br />

What do you consider to be<br />

the greatest challenge when<br />

designing a chair? That the<br />

chair is unique and exiting<br />

within a new idea.<br />

What is your design<br />

philosophy? The highest<br />

premise is always the “search<br />

for the ingenious”. The path<br />

is a synthesis of functionality<br />

and poetry…, then the result<br />

can be a product with soul<br />

and longevity.<br />

Q&A<br />

What do you consider to be<br />

the greatest challenge when<br />

designing a chair? There are<br />

so many chair designs. It is about<br />

significantly differentiating the<br />

design from existing products.<br />

Where is the innovation?<br />

If you could have designed<br />

one of the design classic<br />

chairs, which would it be and<br />

why? The 3107 chair by Arne<br />

Jacobsen has been much<br />

copied, but not improved. It is<br />

an extremely elegant form.<br />

Manufactured since 1955 it is<br />

not easy to design something<br />

that refined that it stands the<br />

test of time.<br />

Who inspired you to become<br />

a designer? My father used<br />

to bring home old products<br />

from work for me to take apart.<br />

I leant a lot about mechanical<br />

components and material<br />

processes. My uncle is an<br />

industrial designer. I visited<br />

my first RCA show was when<br />

I was seven.<br />

What is your design<br />

philosophy? It is important<br />

to live with a design for a while.<br />

The most enduring designs<br />

are those which have had time<br />

spent on them.<br />

Wolfgang C R Mezger —<br />

Kirkos/Lola<br />

The multi award winning studio<br />

of German designer Wolfgang<br />

C R Mezger has produced a<br />

wealth of world class designs<br />

for a host of leading international<br />

companies. Wolfgang originally<br />

trained as a typographer before<br />

he embarked on his design<br />

studies; graduating in 1979 and<br />

winning the Braun award in<br />

1980. After years as a freelance<br />

designer working in collaboration<br />

with many eminent names and<br />

lecturing extensively in Berlin,<br />

London and his old school in<br />

Schwabisch Gmund, he opened<br />

his own Design studio in Eislingen.<br />

Which product broke the<br />

rules and re-defined the<br />

archetype? LC 2 from Le<br />

Corbusier and the 214 from<br />

Michael Thonet.<br />

What is your favourite album?<br />

‘Disraely Gears’ from the Band<br />

Cream.<br />

What is the strangest thing<br />

that has inspired you?<br />

The arms of the praying mantis<br />

for a technical detail.<br />

What question would you<br />

have liked to answer? Are we<br />

really alone in the universe or is<br />

there anywhere another existing<br />

life (living being)?<br />

Do you see sustainable<br />

design as liberating<br />

or limiting? Definitely liberating!<br />

This is not a new idea it is<br />

common sense. There were<br />

more examples of sustainable<br />

design in the mid twentieth<br />

century than there are now.<br />

What is your favourite album?<br />

I have many. John Martyn died<br />

recently. I have a bit of a soft<br />

spot for ‘Bless the Weather’.<br />

What are you reading right<br />

now? I keep picking up Bill<br />

Bryson’s ‘A Short History of<br />

Nearly Everything’. It is very<br />

inspiring.<br />

What aspects of the contract<br />

furniture market frustrates<br />

you the most? People who<br />

think price is more important<br />

than quality. If we are serious<br />

about dealing with sustainability<br />

we need to address the real<br />

lifetime cost of products.<br />

What question would you<br />

have liked to answer? What<br />

would you like to design for us?<br />

Ton Haas —<br />

Mellow<br />

Dutch designer, Ton Haas is well known<br />

throughout the furniture industry for his<br />

work with an impressive list of leading<br />

international manufacturers. His career<br />

began at the School of Fine Arts<br />

in Arnhem before graduating from<br />

Kingston Polytechnic in 1979. He gained<br />

membership into various design<br />

partnerships eventually opening his own<br />

practice in 1993. Since then he has<br />

lectured widely, won awards and had<br />

his worked displayed in museum<br />

collections.<br />

<strong>Allermuir</strong> Portfolio — 93


Paul Brooks —<br />

Aura<br />

Paul Brooks graduated from<br />

Ravensbourne College of<br />

Design to go onto the RCA<br />

before joining the design team<br />

of Robert Heritage, OBE RDI, in<br />

1983. Paul established his own<br />

design practice in 1988 and<br />

has since worked for a host of<br />

UK, as well as other European<br />

furniture manufacturers<br />

becoming a well established<br />

figure in the design community<br />

with many highly successful<br />

designs to his credit.<br />

94 — <strong>Allermuir</strong> Portfolio<br />

Charlie Fowler —<br />

Linx<br />

Charlie Fowler graduated from<br />

Buckinghamshire Chilterns<br />

University in 2003 with a first<br />

class Honours Degree in<br />

Furniture Design. In the same<br />

year he won the <strong>Allermuir</strong><br />

sponsored Future of Design<br />

Award for Furniture<br />

Manufacture at the New<br />

Designers exhibition. Linx<br />

represents the first of Charlie’s<br />

designs to go into production.<br />

Q&A<br />

What do you consider to be<br />

the greatest challenge when<br />

designing a chair? The<br />

greatest challenge apart from<br />

a blank piece of paper is<br />

“Does the world need yet<br />

another chair?”.<br />

What is your design<br />

philosophy? I like seemingly<br />

effortless designs that aspire to<br />

be beautiful. I think good<br />

design should achieve social<br />

and economic good and<br />

should help enrich the<br />

domestic landscape.<br />

What is the strangest thing<br />

that has inspired you?<br />

Ordinary things inspire me,<br />

not strange things. A walk in<br />

Battersea Park, running for the<br />

train, a dream.<br />

Peter Christian —<br />

Surf<br />

Peter Christian studied furniture<br />

at the Royal College of Art<br />

and went on to form his own<br />

design and manufacturing<br />

company in the 1980’s before<br />

becoming Design Director at<br />

Aktiva. He continues to design<br />

and develop for a number<br />

of manufacturers including<br />

<strong>Allermuir</strong>, his successful<br />

‘Wafer’ and ‘Surf’ designs.<br />

What is your favourite album?<br />

I grew up with Punk in the late<br />

seventies and discovered<br />

Bossa Nova in the early<br />

nineties. Recently I have really<br />

enjoyed the Nouvelle Vague<br />

album from 2004. Punk songs<br />

have been reinterpreted in a<br />

Bossa Nova style. My twelve<br />

year old son loves it as well.<br />

What is your favourite film?<br />

‘Bridget Jones Diary’ because it<br />

reminds me of a flight to New<br />

Zealand where I watched it 5<br />

times and ‘Talented Mr Ripley’.<br />

Pernille Svane Hansen —<br />

Scala<br />

Pernille Svane Hansen was<br />

the first designer from outside<br />

the UK that <strong>Allermuir</strong> worked<br />

with. Pernille studied Architecture<br />

and Design for six years in her<br />

native Denmark at the Aarhus<br />

School of Architecture,<br />

followed by work on theatre set<br />

in Denmark and commercial<br />

interior design in London.<br />

She had work exhibited on a<br />

number of occasions at the<br />

Scandinavian Furniture Fair<br />

and until recently worked for<br />

a leading architectural practice.<br />

Q&A<br />

What do you consider to be<br />

the greatest challenge when<br />

designing a chair? Chairs all<br />

develop their own ‘personalities’<br />

so that varies.<br />

If you could have designed<br />

one of the design classic<br />

chairs, which would it be and<br />

why? Almost any steel frame<br />

chair by Paul Kjaerholm.<br />

What is your design<br />

philosophy? Strive for<br />

perfection – use your<br />

common sense.<br />

What are you reading right<br />

now? Sandi Toksvig’s ‘Hitler’s<br />

Canary’ with my 8 year-old<br />

daughter, whilst a pile of my<br />

own unopened books are<br />

waiting for less busy days.


Fraser Lee —<br />

Scoop<br />

Fraser Lee graduated from the Royal College of Art<br />

in 1984, exhibiting at numerous shows; he won a<br />

number of design awards, including a travel<br />

scholarship. In 1987 he formed JFL Design and in<br />

that year his work was selected by the Design<br />

centre and exhibited in London and Glasgow.<br />

Since then he has collaborated with <strong>Allermuir</strong>,<br />

which is amongst his first with a furniture company.<br />

Lyndon Anderson —<br />

Co-designer: Luna<br />

Lyndon Anderson graduated<br />

from Kingston Polytechnic in<br />

1987 and after six years<br />

consultancy experience joined<br />

together with Amos Marchant<br />

to establish ‘Blue’, specialising<br />

in the design of furniture,<br />

lighting and artefacts. ‘Blue’ has<br />

since disbanded, with Lyndon<br />

lecturing full time at Sydney<br />

University, Australia.<br />

Q&A<br />

What do you consider to be<br />

the greatest challenge when<br />

designing a chair? In<br />

designing a chair, I try to create<br />

a family and not design a piece<br />

in isolation. This helps in setting<br />

the tone of the space the<br />

furniture is going to occupy, at<br />

the same time providing more<br />

opportunity to evolve the visual<br />

aesthetic. The aesthetic design<br />

of the chair or any product for<br />

that matter, works best for me<br />

through evolution and intuition,<br />

this is not always possible, but I<br />

am always trying to keep the<br />

overall piece simple.<br />

If you could have designed<br />

one of the design classic<br />

chairs, which would it be and<br />

why? It’s not so much the<br />

design of the classic chair that<br />

interests, but the desire to<br />

experiment with a material, a<br />

process or that visual imagery<br />

that created that chair that has<br />

always inspired. Charles<br />

Eames, Le Corbusier, Ludwig<br />

Mies van der Rohe, Eileen Gray,<br />

Breuer, Gerrit Thomas Rietveld,<br />

Michael Thonet.<br />

Who inspired you to become<br />

a designer? My Fine Art<br />

Lecturer on my Foundation<br />

Course at Hornsey North<br />

London who helped take the<br />

blinkers away and showed me<br />

there where many ways<br />

forward, not just one.<br />

What is your design<br />

philosophy? Keep it simple.<br />

Which product broke the<br />

rules and re-defined the<br />

archetype? There are different<br />

products at different times and<br />

that define different materials.<br />

Do you see sustainable<br />

design as liberating<br />

or limiting? I see sustainable<br />

design as being additional<br />

defining criteria to the design<br />

process and can be both<br />

liberating and limiting, it<br />

depends on how you decide<br />

to see it. Sustainable is the<br />

catch word of the moment and<br />

will enter all aspects of our lives<br />

over the coming years and<br />

through the products we use.<br />

It is time to develop sustainable<br />

cycles. We should probably<br />

think of a circle, everything<br />

has a beginning but the end<br />

should be back at the beginning.<br />

It puts us back in harmony with<br />

our planet or what’s that saying<br />

‘the circle of life’.<br />

What are you reading right<br />

now? A book by Iain M. Banks,<br />

escapism into a book is great.<br />

What is the strangest thing<br />

that has inspired you?<br />

Bright coloured poppy socks<br />

on a girl waiting at the bus stop<br />

who was otherwise dressed<br />

head to toe in Black, this was<br />

back in the early 1980s!<br />

What is your favourite film?<br />

One film that has continued<br />

to be a favourite is Blade<br />

Runner; I enjoyed the<br />

complexity of the themes<br />

running through the film,<br />

alongside the music, camera<br />

work and cinematography<br />

which was amazing.<br />

Jens Bredsdorff —<br />

Carsten Schmidt —<br />

Co-designer: Wave<br />

Co-designer: Wave<br />

Jens Bredsdorff who is based Carsten Schmidt who is based<br />

in Copenhagen, Denmark met in Copenhagen, Denmark met<br />

Carsten Schmidt during their Jens Bredsdorff during their<br />

years of study at Copenhagen’s years of study at Copenhagen’s<br />

Royal Academy of Fine Arts. Royal Academy of Fine Arts.<br />

Jens worked for highly reputed After graduating, Carsten spent<br />

Danish architectural practices time working for well-established<br />

before setting up his own office design and architectural<br />

in 1990. Together with Carsten companies in Scandinavia.<br />

they designed ‘Wave’ which Today he runs his own product<br />

made it to the finals of Design design consultancy. Working<br />

Week Awards in 2001. with Jens he designed ‘Wave’<br />

which made it to the finals of<br />

Design Week Awards in 2001.<br />

<strong>Allermuir</strong> is a member<br />

of the Anti-Copying<br />

in Design Organisation<br />

<strong>Allermuir</strong> Portfolio — 95


Were you paying as much<br />

attention as we do?<br />

Q Which designers favourite film is ‘Blade Runner’?<br />

A<br />

Q Who is reading ‘Notes from an exhibition’?<br />

A<br />

Q Which designer has been inspired by Cow’s Udders?<br />

A<br />

Q Who designed JoJo?<br />

A<br />

Q Who is into Punk music?<br />

A<br />

Q Who’s design philosophy is “simple, straightforward answers”?<br />

A<br />

Q Who is inspired by a park in London?<br />

A<br />

Q Which designer finds combining “comfort, elegance<br />

and simplicity” a challenge when designing chairs?<br />

A<br />

Q Who’s design philosophy is to “follow your heart”?<br />

A<br />

Q Which designer would have liked to answer E=mc 2 ”?<br />

A<br />

Q What does Ross Didier think of sustainable design?<br />

A<br />

Q Who’s favourite album is ‘Disready Gears’ from the band Cream?<br />

A<br />

96 — <strong>Allermuir</strong> Portfolio


98 — <strong>Allermuir</strong> Portfolio<br />

Stools


Section Three<br />

Stools<br />

Surf<br />

JoJo<br />

Melfi<br />

<strong>Allermuir</strong> Portfolio — 99


Section Three<br />

Stools<br />

Surf<br />

Design — Peter Christian<br />

Surf is a lively, stunning and<br />

yet simple alternative to the<br />

traditional high stool. The<br />

cantilevered Beech veneered<br />

seat can be clear lacquered<br />

for a natural look, stained and<br />

lacquered, or block coloured<br />

for an intense, vibrant effect.<br />

Its adaptability makes it suitable<br />

for a wide variety of applications.<br />

Surf est une alternative à la fois simple,<br />

gaie et ravissante au tabouret de bar<br />

traditionnel. L’assise en porte-à-faux<br />

plaquée hêtre peut être laquée<br />

transparent pour donner une<br />

apparence naturelle, teintée et laquée,<br />

ou proposée dans un coloris uni pour<br />

un effet éclatant et intense. Grâce à<br />

son adaptabilité, ce tabouret convient<br />

à une grande variété d’applications.<br />

Surf ist eine lebhafte, atemberaubende<br />

und doch schlichte Alternative<br />

zum traditionellen Barhocker. Der<br />

freischwingende Buchenfurniersitz<br />

kann in natürlicher Optik mit Klarlack,<br />

gebeizt und lackiert oder einheitlich<br />

gefärbt für eine intensive, dynamische<br />

Wirkung geliefert werden. Durch seine<br />

Anpassungsfähigkeit eignet er sich<br />

für eine Vielzahl von Anwendungen.<br />

A393<br />

Surf stool<br />

H930 D400 W400 SH760<br />

100 — <strong>Allermuir</strong> Portfolio


<strong>Allermuir</strong> Portfolio — 101


Section Three<br />

Stools<br />

JoJo<br />

Design — Johannes Foersom<br />

& Peter Hiort-Lorenzen<br />

The striking, elegant and<br />

curvaceous form of the JoJo<br />

stool seat has an almost plastic<br />

characteristic due to the<br />

innovative 3 dimensional ply<br />

forming technology employed.<br />

The resultant organic and<br />

ergonomically friendly form<br />

provides arguably one of the<br />

most comfortable stool seat<br />

shapes possible. Two frame<br />

styles complement the seat<br />

design in the form of high<br />

and low four leg models or<br />

alternatively the height adjustable,<br />

swivelling centre pedestal<br />

version with telescopic column.<br />

A590<br />

Centre pedestal high stool<br />

H900 D430 W480 SH785-665<br />

A592<br />

Low stool<br />

H580 D430 W480 SH465<br />

102 — <strong>Allermuir</strong> Portfolio<br />

Les formes arrondies, élégantes et<br />

tout simplement stupéfiantes du<br />

tabouret JoJo ont pratiquement les<br />

caractéristiques du plastique en<br />

raison de la technologie innovante<br />

de moulage du contreplaqué en<br />

3 dimensions qui a été employée. La<br />

ligne conviviale aux formes organiques<br />

et ergonomiques qui en résulte produit<br />

sans doute l’une des formes d’assises<br />

de tabouret les plus confortables<br />

possibles. Deux styles de piétement<br />

complètent le design de l’assise avec<br />

des modèles hauts ou bas à quatre<br />

pieds ou bien encore la version à pied<br />

central pivotant à hauteur réglable<br />

avec colonne télescopique.<br />

A591<br />

Four leg high stool<br />

H875 D440 W480 SH755<br />

Die eindrucksvolle, elegante,<br />

geschwungene Form des Hockers<br />

JoJo bietet durch innovative<br />

3-dimensionale Holzformtechnologie<br />

einen fast plastischen Charakter.<br />

Das so entstandene organische,<br />

ergonomische Produkt liefert vielleicht<br />

eine der bequemsten Hockersitzformen.<br />

Das Sitzdesign wird von zwei<br />

Gestellvarianten in Form hoher und<br />

niedriger 4-Bein-Modelle sowie<br />

einer alternativen, höhenverstellbaren<br />

einbeinigen Drehstuhlvariante mit<br />

teleskopischer Mittelsäule ergänzt.


<strong>Allermuir</strong> Portfolio — 103


Section Three<br />

Stools<br />

104 — <strong>Allermuir</strong> Portfolio


<strong>Allermuir</strong> Portfolio — 105


Section Three<br />

Stools<br />

Melfi<br />

Design — <strong>Allermuir</strong> Design Team<br />

The Melfi design is dramatic<br />

and eye-catching with its<br />

conical shape. It is available<br />

with or without a backrest<br />

and is suitable for application<br />

in a variety of environments<br />

including hotel lounge bars,<br />

restaurants and bistros.<br />

A158<br />

High stool<br />

H785 D385 W385 SH785<br />

106 — <strong>Allermuir</strong> Portfolio<br />

La forme conique du modèle Melfi<br />

produit un effet dramatique qui ne<br />

manque pas d’attirer le regard. Il est<br />

disponible avec ou sans dossier et il<br />

convient à des applications dans de<br />

nombreux environnements, y compris<br />

dans les bars d’hôtels, les restaurants<br />

et les cafés.<br />

A160<br />

High stool with backrest<br />

H975 D475 W390 SH785<br />

Das Design Melfi ist mit seinen<br />

konischen Formen dramatisch und<br />

augenfällig. Es ist mit und ohne<br />

Rückenlehne erhältlich und eignet sich<br />

für den Einsatz in unterschiedlichsten<br />

Umgebungen, darunter Hotelbars,<br />

Restaurants und Bistros.


<strong>Allermuir</strong> Portfolio — 107


“ Out of intense<br />

complexities intense<br />

simplicities emerge”<br />

Winston Churchill<br />

<strong>Allermuir</strong> Portfolio — 109


110 — <strong>Allermuir</strong> Portfolio


The simplicity of the design of a paperclip speaks volumes.<br />

<strong>Allermuir</strong> Portfolio — 111


. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

ails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

ails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta<br />

tails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details.<br />

. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Deta


ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

etails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detail<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

etails. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detail<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D<br />

Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Detai<br />

ils. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. Details. D


We are in control.<br />

Our manufacturing<br />

facility enables us<br />

to retain control<br />

of every aspect<br />

of production –<br />

and it’s this that<br />

makes sure our<br />

standards are<br />

always high.<br />

114 — <strong>Allermuir</strong> Portfolio


<strong>Allermuir</strong> Portfolio — 115


116 — <strong>Allermuir</strong> Portfolio


118 — <strong>Allermuir</strong> Portfolio<br />

Chairs


Section Four<br />

Chairs<br />

Casper<br />

Dine<br />

Curve<br />

Kirkos<br />

Soul<br />

Aura<br />

Bug<br />

Corpus<br />

<strong>Allermuir</strong> Portfolio — 119


Section Four<br />

Chairs<br />

Casper<br />

Design — <strong>Allermuir</strong> Design Team<br />

Casper is a stylish and<br />

contemporary café and dining<br />

plastic monoshell stacking<br />

chair design, for all manner<br />

of catering and hospitality<br />

environments in both the<br />

corporate and leisure markets,<br />

as well as being ideal for<br />

modern meeting applications.<br />

The distinctive angular<br />

faceted upper backrest blends<br />

down into the curvaceous<br />

seat in a unique way while the<br />

equally distinctive slot in the<br />

lower back, relieves the volume<br />

of the chair aesthetically giving<br />

it a lighter look.<br />

CS1<br />

Skid frame, no arms,<br />

plastic shell<br />

H815 D548 W562 SH470<br />

CS3<br />

Skid frame, no arms,<br />

upholstered seat<br />

H815 D548 W562 SH470<br />

CS2<br />

4 leg frame, no arms,<br />

plastic shell<br />

H815 D555 W550 SH470<br />

CS4<br />

4 leg frame, no arms,<br />

upholstered seat<br />

H815 D555 W550 SH470<br />

120 — <strong>Allermuir</strong> Portfolio<br />

Casper est un modèle élégant et<br />

contemporain de chaise de café ou<br />

restaurant en plastique monocoque,<br />

empilable, qui convient à toutes sortes<br />

d’environnements, en hôtellerie-<br />

restauration et événementiel, aussi<br />

bien sur le marché des entreprises<br />

que des loisirs, et il est également<br />

idéal dans un cadre moderne de<br />

réunions. Le haut de son dossier aux<br />

facettes anguleuses caractéristiques<br />

se marie de manière exceptionnelle<br />

avec l’assise arrondie tandis que la<br />

fente tout aussi caractéristique au bas<br />

du dossier allége l’esthétique du<br />

volume de la chaise pour lui donner<br />

une apparence plus délicate.<br />

CS1A<br />

Skid frame, arms,<br />

plastic shell<br />

H815 D548 W562 SH470<br />

CS3A<br />

Skid frame, arms,<br />

upholstered seat<br />

H815 D548 W562 SH470<br />

CS2A<br />

4 leg frame, arms,<br />

plastic shell<br />

H815 D555 W590 SH470<br />

CS4A<br />

4 leg frame, arms,<br />

upholstered seat<br />

H815 D555 W590 SH470<br />

Casper ist ein eleganter,<br />

zeitgenössischer, stapelbarer<br />

Kunststoffschalenstuhl für Cafés<br />

und Speiseräume, Gastronomie-<br />

und Bewirtungsbereiche jeglicher<br />

Art in Firmen- wie in Freizeitmärkten<br />

und eignet sich insbesondere für<br />

moderne Anwendungen. Die kantigen<br />

Facetten der markanten oberen<br />

Rückenlehne gehen auf einzigartige<br />

Weise in die geschwungene Sitzfläche<br />

über, während die gleichermaßen<br />

charakteristische Aussparung im<br />

unteren Rücken den Stuhl ästhetisch<br />

weniger massiv erscheinen lässt<br />

und ihm eine leichtere Optik verleiht.


<strong>Allermuir</strong> Portfolio — 121


Section Four<br />

Chairs<br />

122 — <strong>Allermuir</strong> Portfolio


<strong>Allermuir</strong> Portfolio — 123


Section Four<br />

Chairs<br />

Dine<br />

Design — PearsonLloyd<br />

Dine is a fresh and elegant<br />

take on the classic stacking<br />

monoshell chair type. Great<br />

effort has been successfully<br />

made in creating an excellent<br />

ergonomic, laminated Plywood<br />

form with a soft flowing,<br />

beautifully proportioned profile,<br />

providing a comfortable sit for<br />

dining, meeting and general<br />

multi-purpose use. The Beech<br />

shell is offered clear lacquered<br />

and in a number of stain or<br />

colour finishes in side chair<br />

and armchair options.<br />

In addition a moulded<br />

upholstered seat pad can be<br />

specified.<br />

A790<br />

Side chair<br />

H790 D450 W480 SH460<br />

A792<br />

Side chair, upholstered<br />

seat pad<br />

H790 D450 W480 SH460<br />

124 — <strong>Allermuir</strong> Portfolio<br />

Dine est une nouvelle adaptation<br />

élégante de la chaise monocoque<br />

empilable classique. De gros efforts<br />

ont été couronnés de succès avec<br />

la création d’une excellente forme<br />

ergonomique en contreplaqué stratifié,<br />

aux lignes fluides, de splendides<br />

proportions, qui permet d’être assis<br />

confortablement lors de repas ou<br />

réunions, ou encore pour de multiples<br />

autres occasions. La coque en hêtre<br />

de la chaise et du fauteuil est<br />

proposée dans une finition laquée<br />

transparente et dans un grand nombre<br />

de teintes bois ou couleurs diverses.<br />

A791<br />

Armchair<br />

H790 D450 W480 SH460<br />

A793<br />

Armchair, upholstered<br />

seat pad<br />

H790 D450 W480 SH460<br />

Dine ist die frische, elegante<br />

Weiterentwicklung des klassischen<br />

stapelbaren Schalensitzes. Großer<br />

Aufwand floss in die Entwicklung<br />

einer hervorragenden ergonomischen,<br />

beschichteten Spanholzform von sanft<br />

fließendem, herrlich proportioniertem<br />

Profil, die bequemes Sitzen bei<br />

Essen, Besprechungen und<br />

generellen Mehrzweckeinsätzen<br />

ermöglicht. Der Buchenschalensitz<br />

wird in Klarlack und in mehreren<br />

Beiz- oder Farbvarianten sowie mit<br />

oder ohne Armlehnen angeboten.


<strong>Allermuir</strong> Portfolio — 125


Section Four<br />

Chairs<br />

Curve<br />

Design — PearsonLloyd<br />

Curve utilises 3D ply forming<br />

technology to achieve<br />

extremely curvaceous and<br />

elegant forms. It offers a high<br />

level of comfort and shape,<br />

uncompromising style and<br />

function. This stacking design<br />

has a slender Chrome wire<br />

frame that complements the<br />

elegant, balanced ply form<br />

and is offered in both side<br />

chair and armchair versions.<br />

The shell is available in Walnut<br />

veneer or stained Beech with<br />

an upholstered moulded seat<br />

pad as an additional option.<br />

A800<br />

Side chair<br />

H780 D545 W485 SH440<br />

A802<br />

Side chair, upholstered<br />

seat pad<br />

H780 D545 W485 SH440<br />

126 — <strong>Allermuir</strong> Portfolio<br />

Curve exploite la technologie du<br />

moulage 3D du contreplaqué pour<br />

obtenir des formes extrêmement<br />

incurvées et élégantes assurant un très<br />

haut niveau de confort et d’esthétique<br />

ainsi qu’un style et une fonctionnalité<br />

sans concession. Ce modèle<br />

empilable possède une fine armature<br />

en métal chromé qui accompagne<br />

à merveille l’élégante symétrie<br />

de la coque en contreplaqué et il est<br />

proposé en versions chaise et fauteuil.<br />

La coque est disponible plaquée<br />

noyer ou teintée hêtre et, en option<br />

supplémentaire, elle peut être fournie<br />

avec un coussin d’assise façonné.<br />

A801<br />

Armchair<br />

H780 D545 W485 SH440<br />

A803<br />

Armchair, upholstered<br />

seat pad<br />

H780 D545 W485 SH440<br />

Curve nutzt zur Schaffung dieser<br />

äußerst geschwungenen und eleganten<br />

Formen 3D-Holzformtechnologie.<br />

Kompromisslos bei Stil und Funktion<br />

bietet es ein hohes Maß an Komfort<br />

und herrliche Formen. Dieses<br />

stapelbare Design ruht auf einem<br />

leichten Chromdrahtgestell, das die<br />

elegante, ausgewogene Spanholzform<br />

ideal ergänzt. Der Stuhl ist sowohl mit<br />

als auch ohne Armlehnen lieferbar.<br />

Die Schale ist in Nussbaumfurnier<br />

oder Buche gebeizt mit Formpolster-<br />

Sitzfläche als weitere Option erhältlich.


<strong>Allermuir</strong> Portfolio — 127


Section Four<br />

Chairs<br />

128 — <strong>Allermuir</strong> Portfolio


<strong>Allermuir</strong> Portfolio — 129


Section Four<br />

Chairs<br />

Kirkos<br />

Design — Wolfgang C R Mezger<br />

Exclusively licensed from<br />

Davis Furniture Industries Inc;<br />

for the UK, Eire and Europe.<br />

The striking, generous and<br />

elegant Kirkos stacking<br />

chair, takes its name from<br />

the Greek word, to encircle;<br />

a name that emphasises<br />

the unique shape that literally<br />

encircles the occupant,<br />

providing superb comfort.<br />

There are two variations in<br />

addition to the all-wood shell,<br />

each supported by a universal<br />

four leg tubular Steel frame.<br />

These are with seat pad and<br />

with fully upholstered liner.<br />

A810<br />

All wood chair<br />

H810 D565 W630 SH440<br />

A813<br />

Chair with fully upholstered liner<br />

H810 D565 W630 SH460<br />

130 — <strong>Allermuir</strong> Portfolio<br />

Fabriquée sous licence exclusive<br />

de Davis Furniture Industries Inc<br />

uniquement pour le Royaume-Uni<br />

et la République d’Irlande.<br />

La chaise empilable Kirkos aux<br />

formes remarquables, généreuses et<br />

élégantes tire son nom du mot grec<br />

qui signifie ‘encercler’, un nom qui<br />

met l’accent sur la forme unique qui<br />

encercle littéralement l’occupant et<br />

lui apporte un superbe confort.<br />

Deux variantes sont proposées,<br />

en plus de la coque toute en bois,<br />

chacune reposant sur un piétement<br />

universel à quatre pieds tubulaires<br />

en acier : avec coussin d’assise<br />

ou avec garniture intérieure complète<br />

de l’assise et du dossier.<br />

A811<br />

Chair with upholstered seat pad<br />

H810 D565 W630 SH460<br />

Mit exklusiver Lizenz von<br />

Davis Furniture Industries Inc<br />

für Großbritannien und Irland.<br />

Der atemberaubende, großzügige und<br />

elegante stapelbare Stuhl Kirkos erhält<br />

seinen Namen vom griechischen Wort<br />

für Kreis. Damit wird die einzigartige<br />

Form betont, die den Sitzenden<br />

sprichwörtlich wie ein Kreis umgibt<br />

und hervorragenden Komfort bietet.<br />

Zusätzlich zur Vollholzschale in<br />

zwei Varianten erhältlich, die jeweils<br />

von einem universellen Vier-Bein-<br />

Gestell aus Stahlrohr getragen<br />

werden. Mit Sitzpolster und voller<br />

Polsterauskleidung


<strong>Allermuir</strong> Portfolio — 131


Section Four<br />

Chairs<br />

Soul<br />

Design — PearsonLloyd<br />

Soul is a unique and ambitious<br />

development and a design<br />

for the 21st Century that fully<br />

embraces technological<br />

advances made since the<br />

archetypal origins of the now<br />

humble tubular Steel cantilever<br />

chair of 80 years ago or so.<br />

Sophisticated ergonomic<br />

analysis was built on the<br />

growing premise that controlled<br />

movement is vital to comfort.<br />

Soul utilises this fact to its<br />

advantage, by delivering<br />

progressive flex throughout<br />

the design. The chair literally<br />

moves and adjusts to the<br />

user’s weight, deforming yet<br />

supporting and thereby giving<br />

substantially greater comfort<br />

than one would expect<br />

of a non-mechanical chair.<br />

A780<br />

Chair (plastic seat and back)<br />

H800 D535 W570 SH475<br />

A783<br />

Stacking chair<br />

(plastic seat and back)<br />

H800 D535 W570 SH475<br />

132 — <strong>Allermuir</strong> Portfolio<br />

Soul est un développement exclusif<br />

et ambitieux, un modèle du 21e siècle<br />

qui exploite à fond les progrès<br />

technologiques réalisés depuis les<br />

origines archétypales de la maintenant<br />

bien modeste chaise cantilever à<br />

armature en tubes métalliques d’il<br />

y a quelque 80 ans.<br />

L’analyse ergonomique sophistiquée<br />

a reposé sur le postulat de plus en<br />

plus accepté que le mouvement<br />

maîtrisé est essentiel pour le confort.<br />

Soul exploite ce fait à son avantage<br />

en assurant une flexibilité progressive<br />

à travers toute la chaise. Celle-ci bouge<br />

et s’adapte littéralement au poids<br />

de l’utilisateur, elle se déforme mais<br />

soutient en même temps, ce qui fait<br />

qu’elle permet un confort nettement<br />

supérieur à ce que l’on pourrait<br />

attendre d’une chaise non-mécanique.<br />

A781<br />

Chair (upholstered seat<br />

and plastic back)<br />

H800 D535 W570 SH475<br />

A784<br />

Stacking chair (upholstered<br />

seat and plastic back)<br />

H800 D535 W570 SH475<br />

Soul ist eine einzigartige und<br />

ehrgeizige Entwicklung und ein<br />

Design für das 21. Jahrhundert,<br />

das sich die technologischen<br />

Fortschritte seit den ersten<br />

Anfängen des nun bescheidenen<br />

Stahlrohr-Freischwingers von vor<br />

etwa 80 Jahren zunutze macht.<br />

Die hochentwickelte ergonomische<br />

Analyse beruhte auf dem sich<br />

durchsetzenden Gedanken,<br />

dass kontrollierte Bewegungen für<br />

bequemes Sitzen unerlässlich sind<br />

Soul nutzt diese Tatsache zu seinem<br />

Vorteil, indem es über das gesamte<br />

Design hinweg progressive Flexibilität<br />

bietet. Der Stuhl bewegt sich<br />

sprichwörtlich und stellt sich auf das<br />

Gewicht des Benutzers ein, verformt<br />

sich und stützt gleichzeitig und bietet<br />

so wesentlich größeren Komfort, als<br />

man ihn von einem nicht-mechanischen<br />

Stuhl erwartet hätte.


<strong>Allermuir</strong> Portfolio — 133


Section Four<br />

Chairs<br />

134 — <strong>Allermuir</strong> Portfolio


<strong>Allermuir</strong> Portfolio — 135


Section Four<br />

Chairs<br />

Aura<br />

Design — Paul Brooks<br />

Aura is a superb die cast<br />

Aluminium framed stacking<br />

chair with distinctive character,<br />

proportions and presence,<br />

available with either injection<br />

moulded plastic seat and back<br />

or upholstery. The curvaceously<br />

contoured seat and back<br />

provide great comfort while<br />

adding to the pleasing<br />

aesthetics and universal appeal<br />

of this design. The design is<br />

available with or without arms<br />

and in its plastic version with<br />

painted frame, Aura is suitable<br />

for outdoor use.<br />

A760<br />

Side chair<br />

(plastic back and seat)<br />

H800 D540 W475 SH460<br />

A762<br />

Side chair (plastic back<br />

and upholstered seat)<br />

H800 D540 W475 SH460<br />

A764<br />

Side chair (upholstered<br />

seat and back)<br />

H800 D540 W475 SH460<br />

136 — <strong>Allermuir</strong> Portfolio<br />

Aura est une superbe chaise<br />

empilable à armature en aluminium<br />

moulé qui se distingue par son<br />

caractère, ses proportions et sa<br />

présence. Elle est disponible avec<br />

assise et dossier garnis ou en<br />

plastique moulé par injection.<br />

L’assise et le dossier aux formes<br />

incurvées assurent un excellent<br />

confort tout en apportant une<br />

esthétique agréable et un charme<br />

universel à ce modèle. Aura est<br />

disponible avec ou sans accoudoirs<br />

et, dans sa version plastique avec<br />

armature peinte, ce modèle convient<br />

aux utilisations en extérieur.<br />

A761<br />

Armchair<br />

(plastic back and seat)<br />

H800 D540 W575 SH460<br />

A763<br />

Armchair (plastic back<br />

and upholstered seat)<br />

H800 D540 W575 SH460<br />

A765<br />

Armchair (upholstered<br />

seat and back)<br />

H800 D540 W575 SH460<br />

Aura, ein großartiger, stapelbarer<br />

Stuhl mit Druckgussgestell, zeichnet<br />

sich durch markanten Charakter,<br />

Proportionen und Präsenz aus und<br />

ist mit Sitzfläche oder Rückenlehne<br />

aus Kunststoff im Spritzgussverfahren<br />

oder Polster erhältlich. Die<br />

geschwungene, konturierte Sitzfläche<br />

und Rückenlehne bieten großen<br />

Komfort und tragen gleichzeitig<br />

zur ansprechenden Optik und<br />

universellen Attraktivät dieses Modells<br />

bei. Der Stuhl kann mit oder ohne<br />

Armlehnen geliefert werden. In seiner<br />

Kunststoffversion mit lackiertem<br />

Gestell ist Aura auch für den Einsatz<br />

im Freien geeignet.


<strong>Allermuir</strong> Portfolio — 137


Section Four<br />

Chairs<br />

138 — <strong>Allermuir</strong> Portfolio


<strong>Allermuir</strong> Portfolio — 139


Section Four<br />

Chairs<br />

Bug<br />

Design — Steven Smith<br />

Bug is a contemporary<br />

range of chairs which is full<br />

of character. Comprising<br />

of stackable four leg chairs,<br />

with or without castors, curvy<br />

cantilevers, Bug features<br />

generous upholstered seat and<br />

backs and moulded<br />

Polyurethane armrests<br />

and is designed primarily<br />

for corporate interiors.<br />

A460<br />

Side chair<br />

H850 D600 W520 SH480<br />

A462<br />

Side chair with castors<br />

H850 D600 W550 SH480<br />

A464<br />

Cantilever side chair<br />

H880 D610 W530 SH485<br />

140 — <strong>Allermuir</strong> Portfolio<br />

Bug est une gamme de chaises<br />

contemporaine pleine de caractère.<br />

Comprenant des chaises empilables<br />

à quatre pieds, avec ou sans roulettes,<br />

des modèles cantilever aux formes<br />

arrondies et des modèles réglables<br />

en hauteur, Bug est dotée d’assises<br />

et dossiers généreusement garnis et<br />

d’accoudoirs en polyuréthane moulé.<br />

C’est une chaise qui a été conçue<br />

principalement pour être utilisée dans<br />

les entreprises.<br />

A461<br />

Armchair<br />

H850 D600 W610 SH480<br />

A463<br />

Armchair with castors<br />

H850 D600 W610 SH480<br />

A465<br />

Cantilever armchair<br />

H880 D610 W610 SH485<br />

Bug ist eine moderne Stuhlreihe voller<br />

Charakter. Bestehend aus stapelbaren<br />

Vier-Bein-Stühlen mit oder ohne Rollen,<br />

kurvenreichen Rückenschwingern und<br />

höhenverstellbaren Modellen weist<br />

Bug großzügig gepolsterte Sitzflächen<br />

und Rückenlehnen sowie Armlehnen<br />

mit geformtem PU auf und wurde in<br />

erster Linie für Firmenräume entwickelt.


<strong>Allermuir</strong> Portfolio — 141


Section Four<br />

Chairs<br />

Corpus<br />

Design — Steven Smith<br />

The Corpus design<br />

centres around a versatile,<br />

understated yet elegant<br />

and striking collection<br />

of multi-purpose stacking<br />

chairs. There is a choice<br />

of permutations with optional<br />

arms, linking, writing tablets<br />

and three sizes of backrest.<br />

A360<br />

Side chair with ¾ back<br />

H860 D590 W495 SH470<br />

A361<br />

Side chair with full back<br />

H860 D590 W495 SH470<br />

A362<br />

Side chair with high back<br />

H945 D620 W495 SH470<br />

A370<br />

Side chair with writing<br />

tablet ¾ back<br />

H860 D660 W525 SH470<br />

A371<br />

Side chair with writing<br />

tablet full back<br />

H860 D660 W525 SH470<br />

A372<br />

Side chair with writing<br />

tablet high back<br />

H945 D670 W525 SH470<br />

142 — <strong>Allermuir</strong> Portfolio<br />

Le modèle Corpus est axé autour<br />

d’une collection polyvalente, discrète,<br />

et pourtant remarquable et pleine<br />

d’élégance, de chaises empilables<br />

multifonctions. Il existe un choix de<br />

permutations grâce à des options<br />

d’accoudoirs, de systèmes d’attache,<br />

de tablettes et trois dimensions de<br />

dossiers.<br />

A363<br />

Armchair with ¾ back<br />

H860 D590 W550 SH470<br />

A364<br />

Armchair with full back<br />

H860 D590 W550 SH470<br />

A365<br />

Armchair with high back<br />

H945 D620 W550 SH470<br />

A373<br />

Armchair with writing<br />

tablet ¾ back<br />

H860 D660 W555 SH470<br />

A374<br />

Armchair with writing<br />

tablet full back<br />

H860 D660 W555 SH470<br />

A375<br />

Armchair with writing<br />

tablet high back<br />

H945 D670 W555 SH470<br />

A369<br />

Cantilever armchair with ¾ back<br />

H895 D610 W550 SH480<br />

Das Design Corpus beruht auf einer<br />

vielseitigen, eindrucksvollen Kollektion<br />

stapelbarer Mehrzweckstühle von<br />

unauffälliger Eleganz. Durch optionale<br />

Armlehnen, Verbindungsfähigkeit,<br />

Schreibflächen und Rückenlehnen in<br />

drei Größen besteht eine große Vielfalt<br />

von Varianten.


<strong>Allermuir</strong> Portfolio — 143


“ Coming together is<br />

a beginning. Keeping<br />

together is progress.<br />

Working together is<br />

success.”<br />

Henry Ford<br />

<strong>Allermuir</strong> Portfolio — 145


We are proud of<br />

our products. Every<br />

year <strong>Allermuir</strong> tours<br />

its latest products<br />

through a series of<br />

high profile exhibitions.<br />

This takes place in<br />

some of the world’s<br />

most fantastic cities.<br />

146 — <strong>Allermuir</strong> Portfolio


<strong>Allermuir</strong> Portfolio — 147


We work with<br />

some of the<br />

world’s biggest<br />

brands.<br />

BBC<br />

Manchester office reception,<br />

hospitality and studio furniture<br />

148 — <strong>Allermuir</strong> Portfolio<br />

Arsenal Football Club<br />

Reception and corporate suite furnishings<br />

Starbucks<br />

Individual branch furniture<br />

BMW<br />

Reception and head<br />

office conference rooms


150 — <strong>Allermuir</strong> Portfolio<br />

Benches


Section Five<br />

Benches<br />

Casper Bench<br />

Wave<br />

Linx<br />

<strong>Allermuir</strong> Portfolio — 151


Section Five<br />

Benches<br />

Casper<br />

Design — <strong>Allermuir</strong> Design Team<br />

Casper is available beam<br />

mounted in two, three or four<br />

seat lengths with optional<br />

intermediary or beam end<br />

tables. The sturdy, heavy load<br />

bearing, yet striking beam<br />

design is free standing as<br />

standard, but can be floor fixed<br />

as an option.<br />

CS7<br />

Seat/table/seat<br />

H810 D595 W1850 SH465<br />

CS8<br />

Upholstered seat/table/upholstered seat<br />

H810 D595 W1850 SH465<br />

152 — <strong>Allermuir</strong> Portfolio<br />

Sandions equatue velis am, corper<br />

acip ex ea facipis eum iliquisl eu<br />

feugiatie volortis dolorti onsenisisim<br />

nulla facilit nisi tat amcorero dip ent<br />

praesed exeros nonsecte magna<br />

feugiat ex exeros nos non utpatem<br />

dolorpero et nulputem quam, sumsan<br />

veraestrud eliquis delisi tatinci ncillan<br />

ut etummodigna at. Ut nibh ex exer si<br />

bla feuguer ipsummolute tionsenim<br />

ero et lore magnim del utat, quissi.<br />

Contact <strong>Allermuir</strong> for alternative configurations<br />

Met aut am nit atuer sent alismolore<br />

con venim iusto odiamet, venim zzrit<br />

nit del essit diam, quis autat niam, quis<br />

nulputat do ex ex ex eros nullandionse<br />

vel dolortio od magna cortionse ea<br />

facin eugue tem et velisi ero consecte<br />

doluptat. Lesed minci tatie eum ipisisl<br />

utpat wismolo rtionsequam, sis nostis<br />

dunt loboreet delendreros nos


<strong>Allermuir</strong> Portfolio — 153


Section Five<br />

Benches<br />

Wave<br />

Design — Carsten Schmidt<br />

& Jens Bredsdorff<br />

This stunning design was<br />

the winning entry in a Danish<br />

competition, which sought<br />

furniture designs that<br />

expressed the use of formed<br />

laminated ply construction in<br />

beautiful and innovative ways<br />

suitable for mass production.<br />

Wave is elegant, poetic, quiet<br />

and well-balanced and can be<br />

used in any building context.<br />

A440<br />

Bench<br />

H455 D480 W1640 SH410<br />

A441<br />

Bench with backrest<br />

H790 D480 W1640 SH410<br />

154 — <strong>Allermuir</strong> Portfolio<br />

Ce modèle étonnant a remporté<br />

un concours danois pour lequel<br />

on recherchait des styles de mobilier<br />

capables d’exprimer l’utilisation de<br />

la construction en contreplaqué<br />

stratifié moulé de diverses manières<br />

esthétiques et innovantes convenant<br />

à la production en série. Wave est<br />

un modèle élégant, aux lignes<br />

équilibrées, empreint de calme et<br />

de poésie, qui peut être utilisé dans<br />

n’importe quel environnement.<br />

Dieses beeindruckende<br />

Design war der Gewinner eines<br />

dänischen Wettbewerbs, bei dem<br />

Möbeldesigns gesucht wurden,<br />

die Formholzkonstruktionen auf<br />

ästhetische und innovative Weise<br />

einsetzen und die für die<br />

Massenproduktion geeignet sind<br />

Wave ist elegant, poetisch, ruhig und<br />

ausgewogen und kann in Gebäuden<br />

jeglicher Art eingesetzt werden.


<strong>Allermuir</strong> Portfolio — 155


Section Five<br />

Benches<br />

Linx<br />

Design — Charlie Fowler<br />

Linx is a simple design concept<br />

which provides an adaptable<br />

seating system for galleries,<br />

museums, corporate reception<br />

areas and public spaces.<br />

The design features single<br />

interlinking seat units which<br />

connect together and pivot<br />

around each other via a<br />

lockable Steel and Nylon<br />

linking mechanism. The result<br />

is a potentially limitless bench<br />

in terms of the possible<br />

number of seats, providing<br />

directional flexibility to suit<br />

any particular space.<br />

A600L<br />

Left section<br />

H430 D450 W600 SH430<br />

156 — <strong>Allermuir</strong> Portfolio<br />

Linx est un concept simple de sièges<br />

modulaires pour les galeries d’art,<br />

les musées, les zones d’accueil dans<br />

les entreprises et les espaces publics.<br />

Le modèle est composé de sièges<br />

autonomes qui s’encastrent les uns<br />

dans les autres.<br />

Ils sont reliés entre eux et pivotent<br />

l’un autour de l’autre grâce à un<br />

mécanisme d’articulation verrouillable<br />

en acier et nylon. Au final on obtient<br />

une banquette potentiellement illimitée<br />

en termes de nombres de sièges<br />

possibles, dotée de souplesse au<br />

niveau de la direction et qui convient<br />

donc à n’importe quel espace.<br />

A600M<br />

Middle section<br />

H430 D450 W600 SH430<br />

A600R<br />

Right section<br />

H430 D450 W600 SH430<br />

Linx ist ein einfaches Designkonzept,<br />

das ein anpassungsfähiges<br />

Sitzsystem für Gallerien, Museen,<br />

Empfangsbereiche in Firmengebäuden<br />

und für öffentliche Räume schafft.<br />

Das Design besteht aus einzelnen<br />

verschachtelten Sitzeinheiten,<br />

die sich miteinander verbinden<br />

lassen und sich über einen<br />

Stahl- oder Nylonmechanismus<br />

umeinander drehen. Das Ergebnis<br />

ist eine nach der Zahl der Sitze<br />

potenziell endlose Bank, deren<br />

Verlauf sich flexibel an die jeweiligen<br />

Räumlichkeiten anpassen lässt.


<strong>Allermuir</strong> Portfolio — 157


Section Five<br />

Benches<br />

158 — <strong>Allermuir</strong> Portfolio


<strong>Allermuir</strong> Portfolio — 159


“ Without craftsmanship,<br />

inspiration is a mere<br />

reed shaken in the wind.”<br />

Johannes Brahms<br />

<strong>Allermuir</strong> Portfolio — 161


Our Lancashire<br />

based facility is well<br />

structured with a fully<br />

trained, professional<br />

workforce, all<br />

committed to design<br />

excellence and<br />

quality manufacture.<br />

162 — <strong>Allermuir</strong> Portfolio


<strong>Allermuir</strong> Portfolio — 163


colours, fabrics,<br />

leathers, woods,<br />

veneers, laminates<br />

& metals<br />

164 — <strong>Allermuir</strong> Portfolio


<strong>Allermuir</strong> Portfolio — 165


<strong>Allermuir</strong> is<br />

committed to<br />

looking after the<br />

environment.<br />

We believe that<br />

the little things<br />

we do makes the<br />

big difference.<br />

166 — <strong>Allermuir</strong> Portfolio


<strong>Allermuir</strong> Portfolio — 167


<strong>Allermuir</strong> is committed<br />

to continually improving<br />

the sustainability of all<br />

environmental aspects<br />

within our business.<br />

To meet both International standards and our<br />

environmental targets we apply the three R’s<br />

principle:<br />

— reduce<br />

— reuse<br />

— recycle<br />

Whilst Recycling is the element which receives<br />

the most exposure it is actually the third option<br />

available and should not be the prime target<br />

in the battle to achieve Sustainability. It is the<br />

effort made in the first instance to minimise<br />

usage, then giving consideration to Reuse<br />

where possible that contributes, before having to<br />

consider Recycling.<br />

168 — <strong>Allermuir</strong> Portfolio


170 — <strong>Allermuir</strong> Portfolio<br />

Tables


Section Six<br />

Tables<br />

Conic<br />

Corpus<br />

Wave<br />

Open<br />

Lola<br />

Pause<br />

A47/A48<br />

A574/A575<br />

Scala<br />

Scoop<br />

Luna<br />

Conference<br />

<strong>Allermuir</strong> Portfolio — 171


Section Six<br />

Tables<br />

Conic<br />

Design — PearsonLloyd<br />

Based on polished Chrome wire<br />

forms, Conic’s low level tables<br />

offer an almost domestic appeal<br />

whilst complementing a myriad<br />

of spaces and environments.<br />

A636<br />

Height: 406<br />

Top sizes: 600 dia.<br />

540 soft square<br />

Top: Laminate/veneer face<br />

Frame: Bright Chrome<br />

A638<br />

Height: 305<br />

Top sizes: 900 dia.<br />

800 soft square<br />

1050 x 700 soft rectangle<br />

Top: Laminate/veneer face<br />

Frame: Bright Chrome<br />

172 — <strong>Allermuir</strong> Portfolio<br />

Reposant sur des formes en métal<br />

chromé poli, les tables basses Conic<br />

ont un charme presque familial qui<br />

agrémente cependant une myriade<br />

d’espaces et environnements divers.<br />

Auf der Grundlage von Hochglanz-<br />

Chromdraht bieten die niedrigen<br />

Tische von Conic fast Wohnraum-Optik<br />

und fügen sich doch in eine Vielzahl<br />

von Räumen und Umgebungen ein.


<strong>Allermuir</strong> Portfolio — 173


Section Six<br />

Tables<br />

Corpus<br />

Design — Steven Smith<br />

The Corpus collection of<br />

tables complement a myriad<br />

of environments. The low level<br />

tables are a combination<br />

of Stainless Steel and diffused<br />

glass with the option to have<br />

a veneer or laminate top.<br />

A376<br />

Height: 400<br />

Top sizes: 600 soft square<br />

1200 x 600 soft rectangle<br />

Top: Laminate/veneer face/<br />

toughened glass<br />

Frame: Elliptical Steel tube<br />

174 — <strong>Allermuir</strong> Portfolio<br />

La collection de tables Corpus<br />

agrémente une myriade<br />

d’environnements. Les tables basses<br />

allient l’acier inoxydable au verre<br />

diffusant avec l’option de plateau<br />

plaqué ou stratifié.<br />

Die Tischkollektion von Corpus<br />

passt sich an unterschiedlichste<br />

Umgebungen an. Die niedrigen<br />

Tische sind eine Kombination aus<br />

Edelstahl und Milchglas, wobei<br />

allerdings bei der Oberfläche<br />

auch Furnier oder Laminat gewählt<br />

werden kann.


<strong>Allermuir</strong> Portfolio — 175


Section Six<br />

Tables<br />

Wave<br />

Design — Carsten Schmid<br />

& Jens Bredsdorff<br />

The Wave table is constructed<br />

using a well detailed<br />

Stainless Steel frame and<br />

a diffused glass top, making<br />

it a well balanced design for<br />

any building context.<br />

A450<br />

Height: 455<br />

Top sizes: 480 square<br />

Top: Toughened glass<br />

Frame: Stainless Steel<br />

A452<br />

Height: 320<br />

Top sizes: 1000 square<br />

1000 x 480 rectangle<br />

Top: Toughened glass<br />

Frame: Stainless Steel<br />

176 — <strong>Allermuir</strong> Portfolio<br />

La table Wave est fabriquée avec<br />

une armature en acier inoxydable<br />

aux détails soignés et un plateau en<br />

verre diffusant qui en font un modèle<br />

bien équilibré convenant à tous les<br />

environnements.<br />

Der Wave-Tisch ist auf der<br />

Grundlage eines herrlich detaillierten<br />

Edelstahlgestells und einer<br />

Milchglasplatte konstruiert und<br />

liefert so ein ausgewogenes Design<br />

für alle Gebäudeformen.


<strong>Allermuir</strong> Portfolio — 177


Section Six<br />

Tables<br />

Open<br />

Design — PearsonLloyd<br />

The Open collection of tables<br />

centres around a formed Steel<br />

rod base frame aesthetic,<br />

supporting a choice of tops from<br />

round to more ‘super ellipses’.<br />

A646<br />

Height: 737<br />

Top sizes: 750 dia.<br />

900 dia.<br />

750/900 square<br />

750/900 soft square<br />

Top: Laminate/veneer face<br />

Frame: Polished cast Aluminium/<br />

Chrome column<br />

A649<br />

Height: 1016<br />

Top sizes: 650 dia.<br />

600 square<br />

600 soft square<br />

Top: Laminate/veneer face<br />

Frame: Polished cast Aluminium/<br />

Chrome column<br />

178 — <strong>Allermuir</strong> Portfolio<br />

La collection de tables Open repose<br />

sur l’esthétique de ses pieds en tiges<br />

d’acier profilé supportant un choix de<br />

plateaux allant des formes rondes aux<br />

« super ellipses ».<br />

A647<br />

Height: 737<br />

Top sizes: 750 x 1500 rectangle<br />

750 x 1800 rectangle<br />

900 x 1800 rectangle<br />

Top: Laminate/veneer face<br />

Frame: Polished cast Aluminium/<br />

Chrome column<br />

Die Tischkollektion Open dreht<br />

sich um einen Grundsockel aus<br />

geformtem Stahlstab, der eine<br />

attraktive Basis für eine Vielzahl von<br />

Tischplatten von runden Formen bis<br />

zu Superellipsen bietet.


<strong>Allermuir</strong> Portfolio — 179


Section Six<br />

Tables<br />

Lola<br />

Design — Wolfgang C R Mezger<br />

Lola’s low level collection of<br />

tables are available with bright<br />

Chrome frames and a choice<br />

of laminate or veneer tops.<br />

A823<br />

Height: 430<br />

Top sizes: 600 dia.<br />

900 dia.<br />

1160 x 600 D-ended<br />

Top: Laminate/veneer face<br />

Frame: Polished Chrome Steel tube<br />

on circular flat Steel plate<br />

180 — <strong>Allermuir</strong> Portfolio<br />

La collection de tables basses Lola<br />

est disponible avec une armature<br />

en chrome brillant et une sélection<br />

de plateaux stratifiés ou plaqués.<br />

Lolas Kollektion tiefer Tische steht<br />

in leuchtenden Chromgestellen,<br />

wahlweise mit Laminat- oder<br />

Furnierplatten zur Verfügung.


<strong>Allermuir</strong> Portfolio — 181


Section Six<br />

Tables<br />

Pause<br />

Design — <strong>Allermuir</strong> Design Team<br />

Pause tables have been<br />

carefully balanced to provide<br />

both high and low resting<br />

points which can work with<br />

a variety of products, meeting<br />

a multitude of needs.<br />

PST166L<br />

Height: 740<br />

Top sizes: 600 x 1600 rectangle<br />

750 x 1600 rectangle<br />

600 x 2200 rectangle<br />

750 x 2200 rectangle<br />

Top: Laminate/veneer<br />

Frame: Bright Chrome<br />

PST156<br />

Height: 325<br />

Top sizes: 750 square<br />

600 x 1500 rectangle<br />

750 x 1500 rectangle<br />

Top: Laminate/veneer<br />

Frame: Bright Chrome<br />

182 — <strong>Allermuir</strong> Portfolio<br />

Les tables Pause ont été<br />

soigneusement étudiées pour<br />

constituer des plans bas ou hauts où<br />

déposer des objets. Elles peuvent<br />

s’ajouter à une variété de produits et<br />

répondent à une multitude de besoins.<br />

PST165H<br />

Height: 1050<br />

Top sizes: 500 x 1600 rectangle<br />

500 x 2200 rectangle<br />

Top Laminate/veneer<br />

Frame: Bright Chrome<br />

Pause Tische wurden sorgfältig<br />

ausgewogen konstruiert, um sowohl<br />

hohe als auch niedrige Ruhepunkte<br />

zu schaffen, die mit einer Vielzahl von<br />

Produkten zu kombinieren sind und<br />

zahlreiche Anforderungen erfüllen.


<strong>Allermuir</strong> Portfolio — 183


Section Six<br />

Tables<br />

A47/A48<br />

Design — <strong>Allermuir</strong> Design Team<br />

The A47 and A48 range of<br />

dining and poser height tables<br />

have been designed to work<br />

universally across the portfolio,<br />

giving the specifier greater<br />

freedom to mix and match<br />

table and seating designs<br />

together.<br />

A47 round<br />

Height: 740<br />

Top sizes: 600 dia.<br />

750 dia.<br />

900 dia.<br />

Top: Laminate/veneer face<br />

Frame: Steel. Suitable for outdoor<br />

use with Stainless Steel top<br />

and Silver o/d frame<br />

A48<br />

Height: 1020<br />

Top sizes: 600 dia.<br />

750 dia.<br />

Top: Laminate/veneer face<br />

Frame: Steel<br />

184 — <strong>Allermuir</strong> Portfolio<br />

La gamme A47 de tables de salle<br />

à manger a été conçue pour être<br />

associée à tous les modèles de notre<br />

portefeuille, accordant ainsi au client<br />

une plus grande liberté pour assortir<br />

tables et sièges.<br />

A47 square<br />

Height: 740<br />

Top sizes: 600 square<br />

750 square<br />

900 square<br />

Top: Laminate/veneer face<br />

Frame: Steel<br />

Die Tischreihe A47 von Esstischhöhe<br />

wurde so entwickelt, dass sie über<br />

das gesamte Portfolio hinweg<br />

eingesetzt werden kann, wodurch<br />

größere Freiheit bei der Kombination<br />

und Abstimmung von Tisch- und<br />

Sitzmodellen besteht.


<strong>Allermuir</strong> Portfolio — 185


Section Six<br />

Tables<br />

186 — <strong>Allermuir</strong> Portfolio


<strong>Allermuir</strong> Portfolio — 187


Section Six<br />

Tables<br />

A574/A575<br />

Design — <strong>Allermuir</strong> Design Team<br />

The A574 and A575 range of<br />

poser height glass top tables<br />

have been designed to work<br />

universally across the portfolio,<br />

giving the specifier greater<br />

freedom to mix and match table<br />

and seating designs together.<br />

A574<br />

Height: 740<br />

Top sizes: 600 dia.<br />

750 dia.<br />

Top: Toughened glass<br />

Frame: Steel<br />

A575<br />

Height: 1020<br />

Top sizes: 600 dia.<br />

750 dia.<br />

Top: Toughened glass<br />

Frame: Steel<br />

188 — <strong>Allermuir</strong> Portfolio<br />

La gamme A574/5 de tables de bar a<br />

été conçue pour être associée à tous<br />

les modèles de notre portefeuille,<br />

accordant ainsi au client une plus<br />

grande liberté pour assortir tables et<br />

sièges.<br />

Die Stehtischreihe A574/5 wurde so<br />

entwickelt, dass sie über das gesamte<br />

Portfolio hinweg eingesetzt werden<br />

kann, wodurch größere Freiheit bei der<br />

Kombination und Abstimmung von<br />

Tisch- und Sitzmodellen besteht.


<strong>Allermuir</strong> Portfolio — 189


Section Six<br />

Tables<br />

Scala<br />

Design — Pernille Svane Hansen<br />

Scala is of a timeless, classic<br />

nature, elegant, restrained<br />

and finely detailed. The curved<br />

legs form a sturdy footprint<br />

which appeals to both leisure<br />

and corporate specifiers.<br />

A411<br />

Height: 735<br />

Top sizes: 600 dia/ 750 dia<br />

900 dia.<br />

600 square<br />

750 square<br />

900 square<br />

Top: Laminate/veneer face<br />

Frame: Steel<br />

190 — <strong>Allermuir</strong> Portfolio<br />

Scala est atemporelle et classique<br />

par nature, élégante, discrète et<br />

agrémentée de détails soignés. Ses<br />

pieds légèrement galbés lui donnent<br />

une assise solide qui plait aux acheteurs<br />

du milieu des loisirs ou des affaires.<br />

Scala ist ein zeitlos zurückhaltendes,<br />

klassisch elegantes Design mit<br />

edlen Details. Die geschwungenen<br />

Beine bilden eine stabile Standfläche,<br />

die sowohl bei Spezifizierungen<br />

für Freizeiteinrichtungen als auch<br />

für Firmenanwendungen großen<br />

Zuspruch findet.


<strong>Allermuir</strong> Portfolio — 191


Section Six<br />

Tables<br />

Scoop<br />

Design — Fraser Lee<br />

Scoop’s compact and clever<br />

footprint enables the tables<br />

to be used across a plethora<br />

of environments.<br />

A405<br />

Height: 735<br />

Top sizes: 600 dia/ 750 dia.<br />

900 dia.<br />

600 square<br />

750 square<br />

900 square<br />

Top: Laminate/veneer face<br />

Frame: Steel tube<br />

A405 twin pedestal<br />

Height: 735<br />

Top sizes: 1200 x 750 rectangle<br />

1800 x 750 rectangle<br />

Top: Laminate/veneer face<br />

Frame: Steel tube<br />

192 — <strong>Allermuir</strong> Portfolio<br />

L’assise compacte et astucieuse de<br />

Scoop permet d’utiliser les tables<br />

dans une pléthore d’environnements.<br />

Scoops kompakte, intelligente<br />

Stellfläche erlaubt einen Einsatz<br />

der Tische in unterschiedlichsten<br />

Umgebungen.


<strong>Allermuir</strong> Portfolio — 193


Section Six<br />

Tables<br />

Luna<br />

Design — Amos Marchant<br />

& Lyndon Anderson<br />

The Stainless Steel top gives<br />

Luna tables a truly contemporary<br />

look, perfect for both interior<br />

and exterior schemes.<br />

A303<br />

Height: 745<br />

Top sizes: 600 dia.<br />

750 dia.<br />

900 dia.<br />

Top: Stainless Steel.<br />

Suitable for outdoor use<br />

Frame: Aluminium tube<br />

194 — <strong>Allermuir</strong> Portfolio<br />

Le plateau en acier inoxydable des<br />

tables Luna leur donne un look<br />

vraiment contemporain, parfaites<br />

tant à l’intérieur qu’à l’extérieur.<br />

Die Edelstahloberfläche verleiht Luna<br />

Tischen einen wahrlich zeitgemäßen<br />

Look, der sich perfekt für Innen- und<br />

Außenanwendungen eignet.


<strong>Allermuir</strong> Portfolio — 195


Section Six<br />

Tables<br />

Conference<br />

Design — <strong>Allermuir</strong> Design Team<br />

These tables tend to utilise<br />

larger tube sections and<br />

the footprint is greater to<br />

accommodate much larger<br />

top sizes for meeting and<br />

conference use.<br />

A481<br />

Height: 740<br />

Top sizes: 1500 dia.<br />

Top: Laminate/veneer face<br />

Frame: Stainless Steel<br />

A406<br />

Height: 735<br />

Top sizes: 1800 x 900<br />

2400 x 1000<br />

3000 x 1000<br />

Top: Laminate/veneer face<br />

Frame: Steel<br />

196 — <strong>Allermuir</strong> Portfolio<br />

Ces tables ont tendance à utiliser des<br />

tubes de plus grand diamètre et les<br />

dimensions de son armature sont plus<br />

importantes pour permettre d’utiliser<br />

des surfaces de plateaux beaucoup<br />

plus larges qui peuvent servir pour les<br />

réunions et conférences.<br />

Bei diesen Tischen werden in der<br />

Regel größere Rohrdurchmesser und<br />

Stellflächen verwendet, um deutlich<br />

größere Tischplatten für den Einsatz<br />

bei Versammlungen und Konferenzen<br />

aufnehmen zu können.


<strong>Allermuir</strong> Portfolio — 197


Section Six<br />

Tables<br />

198 — <strong>Allermuir</strong> Portfolio


<strong>Allermuir</strong> Portfolio — 199


Contacts<br />

Europe<br />

<strong>Allermuir</strong> UK<br />

Altham Business Park, Accrington,<br />

Lancashire BB5 5YE UK<br />

Tel: +44 (0)1254 682421<br />

Fax: +44 (0)1254 673793<br />

London Showroom<br />

11 Northburgh Street,<br />

London EC1V 0AN UK<br />

Tel: +44 (0)207 251 8059<br />

Fax: +44 (0)207 253 9792<br />

Senator b.v. Showroom<br />

Huis ter Heidweg 58-1,<br />

3705 LZ ZEIST NL<br />

Tel: +030 698 1030<br />

Fax: +030 698 1039<br />

Senator GmbH<br />

Kostenlose Rufnummer<br />

08001 736286<br />

International<br />

<strong>Allermuir</strong> Inc.<br />

1630 Holland Road,<br />

Maumee, Ohio 43537 USA<br />

Tel: +00 (1)419 887 5806<br />

Fax: +00 (1)419 887 5805<br />

Chicago Showroom<br />

Suite 3-123<br />

222 Merchandise Mart Plaza<br />

Chicago IL 60654<br />

USA<br />

TOLL FREE: 1 (888) 887 5806<br />

Dubai<br />

United Arab Emirates<br />

Tel: +44 (0)1282 725082<br />

Senator Australia c/o<br />

Zenith Interiors Pty Ltd<br />

200 Crown St, Darlinghurst<br />

Sydney NSW 2010,<br />

Australia<br />

sales@allermuir.com<br />

www.allermuir.com

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!