Inspired by Le Corbusier

LC2 Grand Confort Petit Modèle

Houzz

Le Corbusier LC2 Grand Confort Petit Modele C03 Zoom

Inspired by Le Corbusier

LC2 Grand Confort Petit Modèle

Save 25%

Availability: In stock

Regular Price: £1,287.17

Special Price £965.38

Reset Configuration

* Required Fields

Description

100% Made in Italy. Armchair with structure in polished chrome or lacquered. Springs through elastic straps. Polyurethane foam padding. Seat in polyurethane and/or feathers. Upholstery in leather or fabric.
History
The series Grand Confort - in the two versions, petit and grand modèle - is part of the models in tubular steel, presented in 1929 at the Salon d’Automne in Paris, which were born from the collaboration between Le Corbusier, his cousin Pierre Jeanneret and Charlotte Perriand. In line with their concepts of proportion and ergonomics, they created the grand modèle for women, who tend to sit with their legs crossed in a diagonal line, and the petit modèle for men, who instead tend to sit straight with their legs open. The prototype was different from the current model: in 1959 when the production in series began in Zurich, the interior decorator Heidi Weber suggested the chrome-plating of the structure, giving the cushions a square, formal appearance, and eliminating the spring mechanism in the back legs, which made the chair to bend backwards. Without a doubt, these changes contributed to its commercial success. A sample of the petite modèle is on permanent exhibit at MoMA in New York. Polished chrome or lacquered tubular steel frame. Double-bedded, folded elastic strings base. Independent cushions padded with polyurethane foam; seat cushion with variable-density polyurethane and/or feathers. Removable leather or fabric upholstery.

Additional Info

Dimensions W76 D70 H69,5 HS48 cm
Inspired by Le Corbusier
Line Armchairs
Model Armchair
Structure Schema C03
Le Corbusier

Le Corbusier

Le Corbusier

(1887-1965)

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.