Le Corbusier’s Furniture is a classic furniture line created by Le Corbusier. LC series was introduced in 1928 at the Salon d‘Autumne in Paris by Le Corbusier and his team of designers.
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Le Corbusier began experimenting with furniture design in 1928 after inviting the architect, Charlotte Perriand, to join his studio. His cousin, Pierre Jeanneret, also collaborated on many of the designs. Before the arrival of Perriand, Le Corbusier relied on ready-made furniture to furnish his projects, such as the simple pieces manufactured by Thonet, the company that manufactured his designs in the 1930s.
In 1928, Le Corbusier and Perriand began to put the expectations for furniture Le Corbusier outlined in his 1925 book L’Art Décoratif d’aujourd’hui into practice. In the book he defined three different furniture types: type-needs, type-furniture, and human-limb objects.
He defined human-limb objects as: “Extensions of our limbs and adapted to human functions that are type-needs and type-functions, therefore type-objects and type-furniture. The human-limb object is a docile servant. A good servant is discreet and self-effacing in order to leave his master free. Certainly, works of art are tools, beautiful tools. And long live the good taste manifested by choice, subtlety, proportion, and harmony”.
The first results of the collaboration were three chrome-plated tubular steel chairs designed for two of his projects, The Maison la Roche in Paris and a pavilion for Barbara and Henry Church. The line of furniture was expanded for Le Corbusier’s 1929 Salon d’Automne installation, ‘Equipment for the Home’.
- LC1: Le Corbusier regarded traditional furnishings, with their structures hidden beneath wads of padding and upholstery, as relics of the past. Partnering with Charlotte Perriand and his cousin Pierre Jeanneret, Le Corbusier stripped away all excess to create the sleek, elemental LC1 Chair (1928). One of the signature classics of modern design, the chair is notable for its back, attached to the frame by a rod that allows the angle of tilt to change – as the user shifts from one sitting position to another, the chair back moves, offering continuous support. Pairing the purity of simple tubular steel with the sensual warmth of natural hide, this piece of “equipment de l’habitation” has a sleek look and an air of functional elegance.
- LC2: The Le Corbusier group referred to their LC2 and LC3 Collections (1928) as “cushion baskets,” which they designed as a modernist response to the traditional club chair. These pieces reverse the standard structures of sofas and chairs by having frames that are externalized. With thick, resilient pillows resting within the steel frames, the idea was to offer all the comfort of a padded surface while applying the elegant minimalism and industrial rationale of the International Style. The resulting aesthetic of the simple tubular structure is remarkably relevant to how we live today, almost 90 years later.
- LC4: Designed in 1928, the LC4 Chaise Longue (or “long chair” in English) was dubbed the “relaxing machine” because of the way it mirrors the body’s natural curves while appearing to float above its supports. An infinite number of sitting angles are achievable with the LC4, as the moveable frame adjusts along the base, from upright to full recline. The LC4 is included in the permanent collection of the Museum of Modern Art in New York.
Image source: https://www.cassina.com/it/collezione/poltrone/lc4
- LC6: In 1929 at the Salon d’Autumne in Paris, Le Corbusier and his team presented a revolutionary collection that stunned the city. Among the pieces was the ethereal yet bold LC6 Table (1928), a mathematically refined structure of steel and glass that has become one of the most important International Style tables of the 20th century. Made of aeronautical steel, the base is welded for a seamless finish with sculpted angles and smooth, mitered corners. The tabletop is a 0.6-inch-thick rectangle of Italian glass, making the LC6 equally right as a dining table or in the conference room. Together the elements create a sense of line, scale and proportion unsurpassed by other designs.
Image source: https://www.cassina.com/it/collezione/tavoli/lc6
- LC8: The LC8 Swivel Stool (1928) evolved from one of a number of experiments, including an attempt to fashion a chair by wrapping inner tubes from tires around a steel frame. As the Le Corbusier group refined such trials, sensuous solutions took form. LC8 consists of a round, thickly padded seat fitted on top of a curving claw-like base of tubular steel that resolves in a swivel mechanism, giving the seat pad a buoyant look.
- LC3 – Grand confort, grand modèle referred as Cushion Baskets (1928)
- LC5 – Sofa Bed
- F – Canapé
- LC7 – The Swivel Chair(1928)
- LC9 – Bathroom Stool
- LC10 P – Rectangular Low Table
- LC11 P – Table
- LC12 – Table designed in 1925 for Villa La Roche
- LC13 – Fauteuil Wagon Fumoir
- LC14 – Tabouret (1952 – 1959) (Tabouret LC14.01, Tabouret LC14.02)
- LC15 – Table De Conférence
- LC16 – Table De Travail Avec Rayonnages
- LC17 – Portemantea (1957)
- LC19 – Table Esprit Nouveau
Widely considered one of the most influential architects of the 20th century, Le Corbusier (born Charles-Édouard Jeanneret-Gris) is credited with changing the face of urban architecture, bringing it into the technological age. Connecting architecture with revolution, his legacy demonstrates a strong, if utopian, sense of purpose to meet the needs of a democratic society dominated by the machine. “Modern life demands, and is waiting for, a new kind of plan, both for the house and the city,” he said in 1923.
Le Corbusier combined a passion for classical Greek architecture and an attraction to the modern machine. He published his ideas in a book entitled Vers une Architecture, in which he refers to the house as a “machine for living,” an industrial product that should include functional furniture or “equipment de l’habitation.” In this spirit, Le Corbusier co-designed a system of furniture with his cousin Pierre Jeanneret and Charlotte Perriand. The tubular steel furniture projected a new rationalist aesthetic that came to epitomize the International Style.
Info source: http://www.dwr.com/designer-le-corbusier?lang=en_US
In 1922, Le Corbusier began working in the new rue de Sèvres atelier with his cousin Pierre Jeanneret with whom he shared research projects and design criteria in a profound professional relationship.
Image source: http://atelierjespers.com/pierre-jeanneret–eng.html
In October 1927, the pair decided to draw on the contribution of a young architect who had already begun to establish a reputation on the architectural scene of the time: Charlotte Perriand. Their collaboration lasted through to 1937 and was extremely fruitful, especially in the field of furniture design. The partnership was highly signifi cant, both in terms of the cultural weight of their achievements and their professional successes. It was together with Charlotte Perriand that the pair tackled the innovative project for “l’équipement de la maison”. The resulting designs were of great intellectual value and considerable commercial success. Thanks to Cassina’s ongoing production, there is continued interest in the conceptual contents of the work and the level of quality attained. Due to these characteristics, each item in the collection is eagerly awaited.
Made in Cassina
Re-edition of furniture from the “Cassina I Maestri” collection began in the 1960’s with an intense and in-depth analysis of the intention of the original designs. Drawings, sketches, prototypes and every other available document, of which Cassina has exclusive access, were closely analyzed and subsequently became material for exchanges with the heirs and collaborators who knew and know the work by these authors.
This procedure made it possible for Cassina to propose editions that reflect the intent of their creators with indisputable precision, while applying innovative technology and material. It is for this purpose that Cassina has been benefiting from a collaboration with Filippo Alison since 1972, one that undertook a strict methodology intended to bring to light finesse of design of each author’s work in its entirety.
The collection is fully monitored by the Fondation Le Corbusier and the heirs of Charlotte Perriand and Pierre Jeanneret.