As with all of Le Corbusier’s works, the LC1 chair derives from an in-depth study of human posture. In this particular case, the chair is intended to be relaxing and to foster conversation. The balance between form and function is achieved through the use of the Modulor, a system based on the typical measurements of the male body and on a mathematical language informed by the proportions of universal harmony. The light, compact chair was designed and presented at the 1929 Salon d’Automne along with other important models, such as the LC2 and LC3 armchairs, the LC6 table and the LC4 chaise-longue. Its perfect compositional simplicity is suited for any context, and available in three versions. In addition to the 1929 model, there is the 1928 Villa Church option, and the one exhibited in 1930 at the Union des Artistes Modernes.
Le Corbusier, Perriand, Jeanneret
In 1922, Le Corbusier began working in the new rue de Sèvres, Paris, atelier with his cousin Pierre Jeanneret with whom he shared research projects and design criteria in a profound and life-long professional relationship. In October 1927, the pair decided to draw on the contribution of a young architect who had already begun to establish a reputation on the architectural scene of the time: Charlotte Perriand. Their collaboration lasted through to 1937 and was extremely fruitful, especially in the field of furniture design. The partnership was highly significant, both in terms of the cultural weight of their achievements and their professional successes. It was together with Charlotte Perriand that the pair tackled the innovative project for “l’équipement d'intérieur de l’habitation”.
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