For Collection Chandigarh, Cassina takes its inspiration from the genius of Le Corbusier for a collection of three trays in pure, unglazed porcelain. These trays borrow bas-relief symbols chosen for the walls of the buildings of Chandigarh, the city designed in the 1950s and now a UNESCO World Heritage Site. The same procedure can be seen in Marseille in the Unité d’Habitation on the sculptures moulées, symbolic designs embedded by Le Corbusier in the concrete – béton brut – taken from his figurative portfolio. Each tray, made by Richard Ginori, includes a design sketched by the Master in 1956:
- The open hand symbolizing peace (square tray with rounded corners)
- The fish (round tray)
- The movement of the sun (rectangular tray)
Cassina Collection in collaboration with Richard Ginori and the Le Corbusier Foundation
There are perhaps only a handful of people who truly changed the way the 20th Century looked, and Le Corbusier was without a doubt one of them. A self-taught polymath in the fields of architecture, philosophy, and design, Le Corbusier was among the very first to encourage the use of tubular steel and concrete, and certainly a master of those materials. His work emphasizes profile over ornament, with a firm belief that simple geometric forms are best.
Born Charles-Edouard Jeanneret-Griss in 1887, by the age of twenty he’d relocated from Switzerland to Paris, shortened his name to Le Corbusier, and designed his first house. Le Corbusier went on to conceive the International Style, a philosophy that favored open floor plans, concrete structures raised on support pillars, and horizontal windows instead of ornamented facades. Buildings like his Radiant City in Marseille remain the ne plus ultra of Modernism and prefigured Brutalism, influencing generations of architects to come. And his furniture has grown even more influential since his death in 1965. Seating like his steel-and-hide LC1 chair are, while radical in their day, are now like timeless classics, often imitated but never bettered.
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by John Pawson
by John Pawson
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