Monday, October 15, 2007
The Petit Corner Sectional expands upon the LC2 Petit Club Chair design concept of 1928 to a full blown sectional sofa. The design maintains its orginal lines and stainless steel tube exostructure while creating an environament suitable for an office or a home.
The idea was to offer all the comfort of a padded surface while applying the elegant minimalism and industrial rationale of the International Style.
Following the example of the LC1 Sling Chair, the steel structure is externalized, and the result is an armchair that holds the body in a simple tubular structure that still looks stunning today. Thick, resilient pillows rest on top of the frame and provide the kind of sumptuousness rarely found even in the finest overstuffed conventional chairs.
The Le Corbusier group called their LC collection the “cushion basket,” and designed it in 1928 as a modernist response to the traditional club chair. This variation on the theme was scaled for luxury cruise ships, the idea was to offer all the comfort of a padded surface while applying the elegant minimalism and industrial rationale of the International Style. Thick, resilient pillows rest on top of the frame and provide the kind of sumptuousness rarely found even in the finest overstuffed conventional chairs.
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 choice of color are here :
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, 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 house in Paris and a pavilion for Henry and Barbara Church. The line of furniture was expanded for Le Corbusier's 1929 Salon d'Automne installation Equipment for the Home.
He created the chair along with the related ottoman and table for his German Pavilion at the 1929 exposition in Barcelona, Spain. The chairs were seen as grand enough to be used as thrones for the Spanish Royal couple when they visited the Barcelona Pavilion.
The highly machined metal frame is made of polished stainless steel flat bar stock, while the seating surfaces were made of pigskin leather.
The outsize proportions and elegant form rendered the Barcelona Chairs more as sculptural objects in the gallery-like Pavilion. The clear articulation of the structural frame and the seat cushions as separate components, and the use of both traditional and modern materials where appropriate to their functional purpose, presage Mies' personal revisioning of International Style architecture in the United States.