• Knoll Krusin Lounge Chair by Marc Krusin
  • Knoll Krusin Lounge Chair by Marc Krusin
  • Knoll Krusin Lounge Chair by Marc Krusin
  • Knoll Krusin Lounge Chair by Marc Krusin
  • Knoll Krusin Lounge Chair by Marc Krusin
  • Knoll Krusin Lounge Chair by Marc Krusin

KnollStudio®

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Krusin Lounge Chair

Marc Krusin 2009

Designed by Marc Krusin in 2011, The Krusin Guest Seating Collection draws inspiration from traditional chair designs, but asserts itself with an industrialized craft aesthetic. Leaving no joint unresolved and no angle unconsidered, the Krusin Collection’s subtle elegance harmonizes with any setting. Further enhancing its versatility, the chair is available in a broad array of natural woods, with low-sheen or high-polish finishes and can be styled with an upholstered or natural woven paper rush seat.

Details

Construction and Details
  • Seat cushion available in a range of KnollTextiles and Spinneybeck® leathers
  • Uncoated, natural woven paper rush seat available
  • Upholstered seat cushion uses high-density polyurethane foam and elastic seat belt suspension
  • Frame is select American and European hardwood using dowel and mortise + tenon construction with steam-bent top rail
  • 7 low gloss natural wood finishes in White Ash, Oak, and American Walnut
  • 12 Beech frame stains
  • Nylon glides included
Sustainable Design and Environmental Certification
  • GREENGUARD Indoor Air Quality Certified®

 

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Marc Krusin: “The chair has a particularly traditional framework — arm at a certain height, back at a certain height — and it has to do certain things, it has to be a robust chair. Within that framework, we worked tremendously on the proportion. Both proportion in the macro sense — the height of the arms with relation to the height of the back and the height of the seat, and also proportion on the micro scale —the angles of each rail of wood, you know, they’re not just square blocks.

“We spent a lot of time making changes that were not only aesthetic, but also structural and made a difference from an ease of fabrication point. It was actually very interesting, a lot of the time we’d be cutting something off, or taking an angle out, and what I found was that it actually gave something back to the design, it simplified it.

“I see it as being a design that can fit into a lot of scenarios. To me, there is something very noble about an object, a chair, whatever it may be, that sits within a space not shouting for your attention, but blending into it. The outcome is absolutely contemporary, but at the same time absolutely classic and absolutely timeless.”