Inspired by Le Corbusier

LC7 Armchair


Le Corbusier LC7 Armchair C07 Zoom

Inspired by Le Corbusier

LC7 Armchair

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Regular Price: £791.15

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100% Made in Italy. Swivel chair with structure polished chrome or lacquered. Polyurethane foam padding. Upholstery in leather, leather with fur or fabric.
According to some critics, this swivel chair in steel tube probably has been designed by Charlotte Perriand before her collaboration with Le Corbusier. Certainly, it was among the chairs presented by Le Corbusier, Pierre Jeanneret and Charlotte Perriand at the “Salone d’Automne” in Paris in 1929. The swivel armchair was highly innovative for that period: for the first time, the seat was supported by its legs only thanks to the fulcrum, which allowed a full 360° rotation. This was an example of the designers’ interest in the exploration of the structural possibilities that the use of the steel allowed. Polished chrome or lacquered tubular steel frame. Polyurethane foam padding. Leather, fabric, or pony upholstery.

Additional Info

Dimensions W60 D58 H73 HS50 cm
Inspired by Le Corbusier
Line Armchairs
Model Armchair
Structure Schema C07
Le Corbusier

Le Corbusier

Le Corbusier


Architecture is about art, a phenomenon that provokes emotion, that goes beyond the problems related to construction, far beyond them. Construction holds things up: architecture touches people’s emotions.

Swiss born, Charles-Édouard Jeanneret-Gris spent his youth travelling through Europe, coming in contact, among other things, with the Sezession environment in Vienna and with Gropius and Mies van der Rohe in Berlin. In his early thirties, he opened his legendary architecture studio in Paris. In addition to becoming immensely famous as an architect, Le Corbusier was also an urban planner, painter, sculptor and writer. His collaborations with his cousin Pierre Jeanneret and Charlotte Perriand were decisive.

Together, they presented a revolutionary one-room studio- apartment at the Salon d’Automne in Paris in 1929, with furniture pieces which embodied the modernist spirit. They were conceived as instruments suitable for furnishing spaces built for the modern man; this explains why Le Corbusier loved to speak of “équipement “. These furnishings had to be useful, an expression of their function. This is the new value proposed by the coupling of form and function: the object, stripped of its ornaments, recovers its implacable and intimate sense of beauty, expressing its very nature in the harmony of its new form, simple and essential. The public’s reaction was predictably hostile. But as fate would have it, the legend was round the corner.