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【正文】 for her Bar sous le To 顃 installation in an exhibition. Until then Le Corbusier had furnished his residential projects and exhibition sets with the bentwood chairs manufactured by Tho in Austria and club chairs from Maples in London. Perriand?s arrival offered an opportunity for his studio to develop furniture in the angular forms of the modern movement from industrial materials. Originally designed for Maison La Roche in Paris and exhibited at the Salon d?Automne in 1929, the Grand Confort was inspired by Le Corbusier?s favourite Maples club chair. Grand Confort, Model No. LC2 club chair, 1928 Chromed bent tubular steel, leather Design: Le Corbusier, Pierre Jeanneret, Charlotte Perriand Production: Tho Fr232。res, Austria Reissue: Cassina, Italy Chaise Longue Model No. B306, 1928 Chromed bent tubular steel, leather Design: Le Corbusier, Pierre Jeanneret,Charlotte Perriand The first project assigned to Charlotte Perriand (19031999) by Le Corbusier (18871965) was to design a series of chairs to furnish Maison La Roche, a house he was designing in Paris. He asked for three types of chair: one “for conversation”, another “for relaxation” and a third “for sleeping”. The first was the B301 slingback chair, the second the Grand Confort club chair and the third the B306 chaise longue. Inspired by the graceful curves of 18th century French daybeds, the chaise longue bined the utility of tubular steel with the decadence of ponyskin and leather. “I thought of the cowboy from the Wild West smoking his pipe, feet in the air higher than his head, against the chimneypiece: plete rest,” recalled Le Corbusier. Charlotte Perriand posed for the publicity shots of the B306 with bobbed hair, a daringly short skirt and a necklace of industrial ball bearings. Charlotte Perriand on the B306 Chaise Longue, 1928 Chromed bent tubular steel, leather Design: Charlotte Perriand, Le Corbusier, Edouard Jeanneret Production: Tho Freres, Austria Reissue: Cassina, Italy Model No. B302 swivel chair, 19281929 Chromed bent tubular steel, leather Design: Le Corbusier, Pierre Jeanneret,Charlotte Perriand Inspired by a simple office chair, this swivel chair was designed for use at a desk or dining table. Under Le Corbusier?s (18871965) supervision, Charlotte Periand (19031999) transformed the utilitarian form by upholstering the seat and back in luxurious leather. She envisaged the back as providing a solid fortable cushion to rest against “l(fā)ike automobile tyres”. Working with Le Corbusier and Pierre Jeanneret (18961967) instilled a strict discipline in Perriand. “The smallest pencil stroke had to have a point,” she later recalled, “to fulfil a need, or respond to a gesture or posture, and to be achieved at massproduction prices.” Perriand tried to persuade the French manufacturer Peugeot to adapt the tubular steel used in its bicycle frames for their furniture. When Peugeot declined, she successfully persuaded Tho, the manufacturer of Le Corbusier?s favourite bentwood chairs, to make all the furniture, including this swivel chair, for the Salon d?Automne. Model No. B302 swivel chair, 19281929 Chromed bent tubular steel, leather Design: Le Corbusier, Pierre Jeanneret, Charlotte Perriand Production: Tho Fr232。res, Austria Reissue: Cassina, Italy Barcelona Chair, Model No. MR90, 1929 Chromed flat steel, leather Design: Mies van der Rohe, Lilly Reich Among the most elegant and imposing of the chairs designed by Mies van der Rohe (18861969) in collaboration with the interior designer Lilly Reich (18851947) is the opulent Barcelona Chair. Designed in 1929, it is one of the most recognizable early 20th century chairs and is still a familiar sight in corporate foyers. The chair was developed for the German Pavilion at the 1929 International Exhibition in Barcelona as part of Mies? mission to design the pavilion and its contents. As the German Pavilion was to be the setting for the official opening ceremony, Mies decided upon a thronelike form for the chairs and modeled them on the sella curulis, an ancient stool used by Roman magistrates. Barcelona Chair, Model No. MR90, 1929 Chromed flat steel, leather Design: Mies van der Rohe, Lilly Reich Reissue: Knoll International, US
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