‘To create Architecture is to put in order.Put what in order..??? FUNCTION & OBJECTS’.

FURNITURE DESIGN

BILAL,BUSHRA,HASHIM,JYOTITABISH,ZOHRA

IN HIS EARLY YEARS IN PARIS LE CORBUSIER WORKED AS A DECORATOR. HE ALSO BEGAN TO DESIGN FURNITURE FOR HOUSES AND OFFICES,IN A BIEDERMEIER STYLE.

IT WASN'T UNTIL 1928 THAT LE CORBUSIER DESIGNED ANY SIGNIFICANT PIECES OF FURNITURE.

AS THE VILLAS OF HIS WEALTHY CLIENTS WERE NEARING COMPLETION, LE CORBUSIER DECIDED TO DESIGN HIS OWN “MODERN FURNITURE.” .

HE OFTEN DESIGNED THONET BENTWOOD CHAIRS FOR THESE

RESIDENCES,AND USED TO PAIR IT UP WITH RUGS AND BARE WHITE CURTAINS

CHARLES-ÉDOUARD JEANNERET-GRIS ALSO KNOWN AS LE CORBUSIER WAS A SWISS-BORN FRENCH ARCHITECT. HE WAS A FRENCH URBANIST, DESIGNER, ARCHITECT, WRITER, AND PAINTER.HIS MAJOR CONTRIBUTIONS TO THE WORLD OF FURNITURE DESIGN, AND HIS ICONIC CORBUSIER CHAIRS HAVE CONTINUED TO BE POPULAR AND SOUGHT AFTER IN CONTEMPORARY HOMES AND OFFICES.

‘Architecture is the learned game,correct & magnificient,of forms assembled in light.’ LE CORBUSIER

ARCHITECTURE, CITY PLANNING, FURNITURE DESIGN – LE CORBUSIER WORKS ARE CLASSICS OF DESIGN HISTORY – TIMELESS AND STILL UP-TO-DATE DUE TO THE CLEAR LANGUAGE OF FORM. 

IN 1922, LE CORBUSIER AND HIS COUSIN PIERRE JEANNERET OPENED AN ARCHITECTURAL STUDIO.IN 1928,THEY COLLABORATED WITH ARCHITECT CHARLOTTE PERRIAND AND BEGAN THEIR CAREER OF FURNITURE DESIGNING.

THEY PRESENTED SEVERAL MODELS, IN AN INSTALLATION TITLED EQUIPMENT FOR THE HOME.HE DESIGNED ICONIC, MODERNIST FURNITURE. HE WAS QUOTED AS SAYING:

 ”Chairs are architecture, sofas are bourgeois.”

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.

LC4LC2 LC3

THE DESIGNS PROJECTED A NEW RATIONALIST AESTHETIC THAT CAME TO EPITOMIZE THE INTERNATIONAL STYLE.

Charlotte Perriand had the ability to deal with modern materials and technology led le corbusier

to hire her, and from 1927 to 1937 she expanded on the ideas on domestic interior design that he

advocated in his writings.

DESIGN PHILOSOPHY

LE CORBUSIER PLACED SYSTEMS OF HARMONY AND PROPORTION AT THE CENTRE OF HIS DESIGN PHILOSOPHY.LE CORBUSIER BELIEVED THAT FURNITURE SHOULD BE SLEEK AND FIT FOR PURPOSE BUT SHOULD NOT TAKE UP MORE SPACE THAN WAS REQUIRED SO HE STRIPPED AWAY ALL EXCESS.HIS FURNITURE DESIGNS ARE COMBINATION OF SIMPLE DESIGN LINES WITH TUBULAR STAINLESS STEEL AND LEATHER.

IN HIS 1925 BOOK  L'ART DÉCORATIF D'AUJOURD'HUI , LE CORBUSIER DEFINED THREE DIFFERENT TYPES OF FURNITURE :1.TYPE-NEEDS,2.TYPE-FUNCTIONS3.HUMAN-LIMB OBJECTS.

SPACE AND LIGHT & ORDER.THOSE ARE THE THINGS THAT MEN NEED JUST AS MUCH AS THEY NEED BREAD OR A PLACE TO SLEEP. LE CORBUSIER

THE LC1 BASCULANT CHAIR

THE SLING CHAIR OR BASCULANT CHAIR, CREATED IN 1928 BY LE CORBUSIER, CHARLOTTE PERRIAND, AND PIERRE JEANNERET, WAS THE FIRST DESIGN OF THE NEW DESIGN GROUP ASSEMBLED BY CORBUSIER. 

IT HAS CONTINUED TO BE A POPULAR CHAIR FOR BOTH RESIDENTIAL AND OFFICE INTERIORS.

DESIGNED BY LE CORBUSIER, JEANNERET, AND HIS COUSIN ARCHITECT PERRIAND

FIRST SHOWN IN THE GALLERY OF THE VILLA LA ROCHE, PARIS, AND IN THE LIBRARY AND STUDY OF THE VILLA CHURCH, VILLE D’AVARY, PARIS:

YEAR OF DESIGN WAS 1928 AND YEAR OF PRODUCTION WAS 1965

CORBUSIER SAID “THE ACTIVE OR PURPOSEFUL MODE WAS REPRESENTED BY THE CHAISE À DOS BASCULANT, THE LC1, AND WAS USED AS AN OFFICE CHAIR.  ITS DESIGN WAS ADAPTED FROM THE COLONIAL OFFICER'S CHAIR WITH LEATHER STRAPS KNOWN AS A “SAFARI” CHAIR.”

INTRO DUCTIO N

THE IDENTIFYING MARKS THAT ARE IMPRINTED ON THE CHAIRS ARE:   :THE SIGNATURE OF LE CORBUSIER

:THE “CASSINA I MAESTRI” LOGOTYPE :A PRODUCTION NUMBER WHICH PLACES THE CHAIR IN THE CHRONOLOGY OF PRODUCTION

PH ILO SO PH Y LE CORBUSIER BELIEVED THAT FURNITURE SHOULD BE

SLEEK AND FIT FOR PURPOSE BUT SHOULD NOT TAKE UP MORE SPACE THAN WAS REQUIRED SO HE STRIPPED AWAY ALL EXCESS

  FREE FROM ANY FORM OF DECORATION, THESE TUBULAR

STEEL DESIGNS EMBODY RELAXED AND TIMELESS ELEGANCE.

DESCRIPTI O N A DESIGN CLASSIC FEATURING A ROD WHICH ATTACHES

THE BACK OF THE CHAIR TO THE FRAME THUS ALLOWING THE ANGLE OF TILT TO CHANGE AS THE USER SHIFTS POSITION GIVING HIM CONTINUOUS SUPPORT.

THE COMBINATION OF NATURAL HIDE AND TUBULAR STEEL GIVE THIS PIECE WARMTH ANDELEGANCE.WHILST REMAINING SLEEK AND FUNCTIONAL

M ATERIALS. POLISHED TRIVALENT CHROME PLATED (CR3) OR

SEMIGLOSS BLACK ENAMEL STEEL FRAME

PONYSKIN OR COWSKIN (BLACK LEATHER ARMS);— SADDLE LEATHER IN A WIDE RANGE OF COLOURS WITH MATCHING ARMS. DIMENSIONS

FEATURES

FUNCTIONAL PERFECTION

THIS SENSE OF MOVEMENT IN THE BACK OF THIS SMALL ARMCHAIR AND STRAPS WERE INSPIRED BY THE "SAFARI” CHAIR THAT LE CORBUSIER HAD PREVIOUSLY USED IN SOME OF HIS INTERIORS. ITS CUBIC, GEOMETRIC STRUCTURE REFLECTS THE “PURISM” .

SIMPLE GEOMETRY

THE ARMRESTS ARE MADE OF TWO STRAPS OF LEATHER WITH A ROTATIONAL PLAY BETWEEN THE TWO END PIECES.

SEMPLICITY, RESTRAINT

THIS MODEL COMPRISES AN INTERRELATED COMPLEX OF METALLIC ELEMENTS, NONE OF WHICH GO TO FORM CLOSED FRAMES.

INVISIBLE STABILITY

THE SEAT AND BACKREST ARE SELF-SUPPORTING DUE TO THE TAUTNESS PROVIDED BY A SERIES OF TUBULAR STEEL SPRINGS.

RECLINING BACK

THE RECLINING BACK ENSURES MAXIMUM COMFORT AS THE USER ADJUSTS POSITION.

THE LC 16 STUDY TABLE

PRODUCT SPECIFICATIONS

MATERIAL :

OAK WOOD.

DIMENSIONS :

H=720MM, L=1400MM

A SYSTEM MADE UP OF A MOBILE STORAGE UNITS SURFACED IN NATURAL MATTE COLOURED OAK. THE OPEN COMPARTMENT IS EQUIPPED WITH FASTENED SHELVES. THIS SYSTEM OF FURNITURE CAN BE EXPANDED WITH MODULAR OPEN ELEMENTS

THERE ARE SEVERAL VERSIONS OF THIS SMALL

WOODEN WRITING-DESK.. 

YEAR OF DESIGN WAS1957

•19571957195777777

THE DESIGN OF THESE SPACES AND THE FURNITURE WITHIN THEM IS CHARACTERISED BY CLOSE ATTENTION TO THE HARMONIOUS ORGANISATION OFBOTH INDIVIDUAL AND COLLECTIVE LIFE, WITH CONSTANT REFERENCE TO THE HUMAN BODY THROUGH THE USE OF

THE MODULOR VISUAL MEASURE SYSTEM.

THE BASIC IDEA WAS TO CREATE SIMPLE, CHEAP FURNISHINGS THAT WOULD BE SUITABLE FOR THE SPACE AVAILABLE. CASSINA HAS REWORKED THE PROJECT DESIGNED FOR CHILDREN’S BEDROOMS

STANDARD OBJECTS/STANDARD NEEDS

THE RANGE FEATURES TWO STOOLS, ONE CREATED FOR LE CORBUSIER'S SUMMER HOME AND THE OTHER FOR A UNIVERSITY ACCOMMODATION PROJECT, EACH COMPRISING A RECTANGULAR BOX WITH DOVETAIL JOINTS AT THE CORNERS AND SLOTS IN EACH SIDE FOR EASY MOBILITY

THIS WORK TABLE IS IN OAK AND COMPRISES CABINETS WITH OPEN SHELVING AND A WORKTOP SUPPORTED BY ONE LEG. OPEN UNITS ARE ALSO SOLD SEPARATELY AND CAN BE ADDED TO THE REST OF THE SYSTEM.

AN "INTERFACE" PROJECT, MEANING IT WAS DESIGNED

AS A LINK BETWEEN MAN AND HIS HOME.

WITH ITS PURE AND SIMPLE FORMS, THIS PIECE OF FURNITURE HAS STOOD THE TEST OF TIME AND IS TODAY MANUFACTURED FOR THE GENERAL PUBLIC, WHICH IS A SIGN OF ITS

DESIGNER'S GREAT MODERNITY.

LC4 - CHAISE LONGUE (LONG CHAIR), 1928

LC4 - CHAISE LONGUE (LONG CHAIR), 1928

INTRODUCTION

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.

FRAME : TUBULAR STEEL FRAME, BLACK STEEL BASE DIMENSIONS :L=1650MM, H=600MM – 880MM(ADJUSTABLE), W=580MM

• IT MIRRORS THE BODY'S NATURAL CURVES.

• THE MAIN BODY OF THE CHAIR DETACHES FROM THE BLACK STEEL FRAME, AND IT CAN BE ADJUSTED TO COUNTLESS POSITIONS ALONG THE FRAME.

• DETACHABLE HEADREST PILLOW.

FRONT ELEVATION

SIDE ELEVATION

FORMAL PURITY

•THE MATTRESS PAD IS SUPPORTED BY A SERIES OF BROAD ELASTIC STRAPS.

•STRAPS ARE DIRECTLY HOOKED TO THE UPPER FRAME AND IS LIGHTLY PADDED WITH POLYESTER

A PERSON AT REST

•THE BROKEN LINE OF THE MATTRESS PAD SUPPORT IS VERY ELEGANTLY CONTRASTED WITH THE BROADLY CURVED CRADLE SUPPORT,

• INSPIRED BY THE KANGAROO SOFA FROM VIRGINIA, USA IN 1830.

• THE UNCONVENTIONAL CURVES WERE CONCEIVED TO ACCOMMODATE A PERSON AT REST

AUTHENTIC COMFORT

•THE UPPER PART OF THE CRADLE RESTS ON THE PEDESTAL AND CAN BE ADJUSTED.

• STABILITY IS ASSURED AT ANY ANGLE OF INCLINATION BY THE FRICTION AGAINST THE RUBBER THAT COVER THE PEDESTAL CROSSPIECES.

CUSHIONS

• PAD & HEADREST FILLED WITH LOW DENSITY POLYURETHANE FOAM.

• THE CUSHION CAN BE REMOVED AS AND WHEN DESIRED

• THE POSITION OF THE CUSHION CAN BE CHANGED ACCORDING TO A PERSONS POSITION.

THANK YOU