Le Corbusier 50: a house is a machine for living in
"To create architecture is to put in order. Put what in order? Function and objects." - Le Corbusier
Fifty years ago we missed one of the great Architecture and Design Masters: Le Corbusier died at 77 years old in the waters of Roquebrune Cap Martin, French Riviera (France).
His real name was Charles-Edouard Jeanneret-Gris. Born into a family of Swiss watchmakers, he invented the pseudonym "Le Corbusier" in 1920 in Paris to sign the articles for L'Esprit Nouveau magazine. This nickname was a tribute to the surname of his maternal grandfather Lecorbésier, modified to remember even his teacher, the Swiss architect Charles L'eplattenier. However, Le Corbusier was shortened soon to Le Corbu, a sound similar to the French word for raven (corbeau): for this reason, we find Le Corbusier's signature with the stylized head of a crow in many letters.
The father of contemporary architecture has always put the man and his needs at the center of its production: from private residences (like Villa Savoye in France), to public buildings and the so-called Housing Units, going on with the utopian Chandigarh (the capital of the Indian state of Punjab inspired by the principles of La Villa Radieuse treaty) and the furniture designed with meticulous dedication, Le Corbusier tried to change the world with his rationalism and functionalism.
In 1922 Le Corbusier opened the Parisian atelier of rue de Sevres with his cousin Pierre Jeanneret, sharing design and ideas. The duo is enhanced in 1927 with the contribution of a young architect, . Over the next 10 years this fruitful collaboration will lead to unequaled results in the field of "l'Equipement d'intérieur de l'habitation".
It’s impossible not to mention three works that are part of the LC Cassina collection, that offers the Masters masterpieces without altering the shape and structure: LC1, LC2 and LC4, characterized by an unmistakable style.
LC1, also known as Fauteuil à dossier basculant, is an solid but light armchair with a steel frame. The seat is made of ponyskin or cowskin or saddle leather in a wide range of colours. There are three versions: one exhibited at the Salon d'Automne in 1929, the model for Villa Church in 1928, and the one for the Union des Artistes Modernes expo in 1930. LC1 is also part of the design collection of the MoMA in New York.
LC2, the Fauteuil Grand Confort, petit modèle, is the archetype of the modern armchair. Designed in 1928, it has a timeless appeal, due to separation of the caged frame from its inner cushions. The cushions are padded with polyurethane foam and polyester or feather. In addition to classic leather and fabric, you can choose a microfiber fabric.
Finally, LC4, the Chaise longue à réglage continu. LC4 is a chaise longue with adjustable polished trivalent chrome plated (CR3) steel frame, perfect for relaxation and comfort thanks to its structure designed to accommodate the rest (the man at the center of the design production). The steel frame is in harmony with the mattress, in ponyskin or cowskin, leather or special beige canvas.
Le Corbusier also designed lamps, now produced by Nemo, in collaboration with Le Corbusier Foundation, starting from some Le Corbus’s drawings. Among these, there is the famous Projecteur collection. Projecteur lamps are an important chapter in the history of lighting design: their modern but simple style makes them suitable for any environment, confirming their versatility. Designed for Chandigarh High Court (India) in 1954, they are the transposition of the boat headlights.
The Projecteur lamp has a unique luminaire declinable as floor, wall and as a suspension. The lamp body is made of aluminum, while the external part is painted and the inner side is brushed. They are suitable for both residential and contract areas, where they should decorate restaurants, studios, boutiques and showrooms with style.
“Our eyes are made to see forms in light; light and shade reveal these forms; cubes, cones, spheres, cylinders or pyramids are the great primary forms which light reveals to advantage; the image of these is distinct and tangible within us without ambiguity. It is for this reason that these are beautiful forms, the most beautiful forms.” - Le Corbusier
Discover the whole Le Corbusier collection on Mohd!
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