1. ‘To create Architecture is to put in order.Put what in order..???
FUNCTION & OBJECTS’.
FURNITURE
DESIGN
BILAL,BUSHRA,
HASHIM,JYOTI
TABISH,ZOHRA

2. IN HIS EARLY YEARS IN PARIS LE CORBUSIER WORKED AS A
DECORATOR. HE ALSO BEGAN TO DESIGN FURNITURE FOR
HOUSES AND OFFICES,IN A BIEDERMEIER STYLE.
IT WASN'T UNTIL 1928 THAT LE CORBUSIER DESIGNED ANY
SIGNIFICANT PIECES OF FURNITURE.
AS THE VILLAS OF HIS WEALTHY CLIENTS WERE NEARING
COMPLETION, LE CORBUSIER DECIDED TO DESIGN HIS OWN
“MODERN FURNITURE.”
.
HE OFTEN DESIGNED THONET BENTWOOD CHAIRS
FOR THESE
RESIDENCES,AND USED TO PAIR IT UP WITH RUGS
AND BARE WHITE CURTAINS
CHARLES-ÉDOUARD JEANNERET-GRIS ALSO KNOWN AS LE CORBUSIER WAS A SWISS-BORN FRENCH ARCHITECT.
HE WAS A FRENCH URBANIST, DESIGNER, ARCHITECT, WRITER, AND PAINTER.
HIS MAJOR CONTRIBUTIONS TO THE WORLD OF FURNITURE DESIGN, AND HIS ICONIC CORBUSIER CHAIRS HAVE
CONTINUED TO BE POPULAR AND SOUGHT AFTER IN CONTEMPORARY HOMES AND OFFICES.
‘Architecture is the learned game,correct & magnificient,of forms
assembled in light.’ LE CORBUSIER

3. ARCHITECTURE, CITY PLANNING, FURNITURE DESIGN – LE CORBUSIER
WORKS ARE CLASSICS OF DESIGN HISTORY – TIMELESS AND STILL UP-TO-
DATE DUE TO THE CLEAR LANGUAGE OF FORM.
IN 1922, LE CORBUSIER AND HIS COUSIN PIERRE JEANNERET OPENED AN
ARCHITECTURAL STUDIO.IN 1928,THEY COLLABORATED WITH ARCHITECT
CHARLOTTE PERRIAND AND BEGAN THEIR CAREER OF FURNITURE
DESIGNING.
THEY PRESENTED SEVERAL MODELS, IN AN INSTALLATION TITLED
EQUIPMENT FOR THE HOME.
HE DESIGNED ICONIC, MODERNIST FURNITURE. HE WAS QUOTED AS
SAYING:
”Chairs are architecture, sofas are bourgeois.”
HE PUBLISHED HIS IDEAS IN A BOOK ENTITLED, VERS UNE ARCHITECTURE,
IN WHICH HE REFERS TO THE HOUSE AS A “MACHINE FOR LIVING,” AN
INDUSTRIAL PRODUCT THAT SHOULD INCLUDE FUNCTIONAL FURNITURE.
LC4
LC2 LC3
THE DESIGNS PROJECTED A NEW RATIONALIST AESTHETIC
THAT CAME TO EPITOMIZE THE INTERNATIONAL STYLE.
Charlotte Perriand had the ability to deal with
modern materials and technology led le corbusier
to hire her, and from 1927 to 1937 she expanded
on the ideas on domestic interior design that he
advocated in his writings.

4. DESIGN PHILOSOPHY
LE CORBUSIER PLACED SYSTEMS OF HARMONY AND PROPORTION AT THE CENTRE OF HIS DESIGN
PHILOSOPHY.
LE CORBUSIER BELIEVED THAT FURNITURE SHOULD BE SLEEK AND FIT FOR PURPOSE BUT SHOULD NOT TAKE
UP MORE SPACE THAN WAS REQUIRED SO HE STRIPPED AWAYALL EXCESS.
HIS FURNITURE DESIGNS ARE COMBINATION OF SIMPLE DESIGN LINES WITH TUBULAR STAINLESS STEEL AND
LEATHER.
IN HIS 1925 BOOK L'ART DÉCORATIF D'AUJOURD'HUI , LE CORBUSIER DEFINED THREE DIFFERENT TYPES OF
FURNITURE :
1.TYPE-NEEDS,
2.TYPE-FUNCTIONS
3.HUMAN-LIMB OBJECTS.
SPACE AND LIGHT & ORDER.THOSE ARE THE THINGS THAT MEN NEED JUST AS MUCH AS THEY
NEED BREAD OR A PLACE TO SLEEP. LE CORBUSIER

6.  THE SLING CHAIR OR BASCULANT CHAIR, CREATED IN
1928 BY LE CORBUSIER, CHARLOTTE PERRIAND, AND
PIERRE JEANNERET, WAS THE FIRST DESIGN OF THE NEW
DESIGN GROUPASSEMBLED BY CORBUSIER.
 IT HAS CONTINUED TO BE A POPULAR CHAIR FOR
BOTH RESIDENTIAL AND OFFICE INTERIORS.
 DESIGNED BY LE CORBUSIER, JEANNERET, AND HIS
COUSIN ARCHITECT PERRIAND
 FIRST SHOWN IN THE GALLERY OF THE VILLA LA ROCHE,
PARIS, AND IN THE LIBRARY AND STUDY OF THE VILLA
CHURCH, VILLE D’AVARY, PARIS:
 YEAR OF DESIGN WAS 1928 AND YEAR OF PRODUCTION
WAS 1965
 CORBUSIER SAID
“THE ACTIVE OR PURPOSEFUL MODE WAS
REPRESENTED BY THE CHAISE À DOS BASCULANT, THE
LC1, AND WAS USED AS AN OFFICE CHAIR. ITS DESIGN
WAS ADAPTED FROM THE COLONIAL OFFICER'S CHAIR
WITH LEATHER STRAPS KNOWN AS A “SAFARI” CHAIR.”
 THE IDENTIFYING MARKS THAT ARE IMPRINTED ON THE
CHAIRS ARE:
:THE SIGNATURE OF LE CORBUSIER
:THE “CASSINA I MAESTRI” LOGOTYPE
:A PRODUCTION NUMBER WHICH PLACES THE
CHAIR IN THE CHRONOLOGY OF PRODUCTION

7.  LE CORBUSIER BELIEVED THAT FURNITURE SHOULD BE
SLEEK AND FIT FOR PURPOSE BUT SHOULD NOT TAKE UP
MORE SPACE THAN WAS REQUIRED SO HE STRIPPED
AWAYALL EXCESS
 FREE FROM ANY FORM OF DECORATION, THESE TUBULAR
STEEL DESIGNS EMBODY RELAXED AND TIMELESS
ELEGANCE.
 A DESIGN CLASSIC FEATURING A ROD WHICH ATTACHES
THE BACK OF THE CHAIR TO THE FRAME THUS
ALLOWING THE ANGLE OF TILT TO CHANGE AS THE
USER SHIFTS POSITION GIVING HIM CONTINUOUS
SUPPORT.
 THE COMBINATION OF NATURAL HIDE AND TUBULAR
STEEL GIVE THIS PIECE WARMTH ANDELEGANCE.WHILST
REMAINING SLEEK AND FUNCTIONAL
 POLISHED TRIVALENT CHROME PLATED (CR3) OR
SEMIGLOSS BLACK ENAMEL STEEL FRAME
 PONYSKIN OR COWSKIN (BLACK LEATHER ARMS);
— SADDLE LEATHER IN A WIDE RANGE OF COLOURS WITH
MATCHING ARMS.
DIMENSIONS

8. FUNCTIONAL PERFECTION
THIS SENSE OF MOVEMENT IN THE BACK OF THIS SMALL
ARMCHAIR AND STRAPS WERE INSPIRED BY THE "SAFARI”
CHAIR THAT LE CORBUSIER HAD PREVIOUSLY USED IN
SOME OF HIS INTERIORS. ITS CUBIC, GEOMETRIC
STRUCTURE REFLECTS THE “PURISM” .
SIMPLE GEOMETRY
THE ARMRESTS ARE MADE OF TWO STRAPS OF LEATHER
WITH A ROTATIONAL PLAY BETWEEN THE TWO END PIECES.

9. SEMPLICITY, RESTRAINT
THIS MODEL COMPRISES AN INTERRELATED COMPLEX OF
METALLIC ELEMENTS, NONE OF WHICH GO TO FORM
CLOSED FRAMES.
INVISIBLE STABILITY
THE SEAT AND BACKREST ARE SELF-SUPPORTING DUE TO
THE TAUTNESS PROVIDED BYA SERIES OF TUBULAR STEEL
SPRINGS.
RECLINING BACK
THE RECLINING BACK ENSURES MAXIMUM COMFORT AS
THE USER ADJUSTS POSITION.

11. PRODUCT SPECIFICATIONS
MATERIAL :
OAK WOOD.
DIMENSIONS :
H=720MM, L=1400MM
 A SYSTEM MADE UP OF A MOBILE STORAGE UNITS
SURFACED IN NATURAL MATTE COLOURED OAK.
THE OPEN COMPARTMENT IS EQUIPPED WITH
FASTENED SHELVES. THIS SYSTEM OF FURNITURE
CAN BE EXPANDED WITH MODULAR OPEN
ELEMENTS
 THERE ARE SEVERAL VERSIONS OF THIS SMALL
WOODEN WRITING-DESK..
YEAR OF DESIGN WAS1957
•19571957195777777

12. THE DESIGN OF THESE SPACES AND THE FURNITURE
WITHIN THEM IS CHARACTERISED BY CLOSE ATTENTION
TO THE HARMONIOUS ORGANISATION OF
BOTH INDIVIDUAL AND COLLECTIVE LIFE, WITH CONSTANT
REFERENCE TO THE HUMAN BODY THROUGH THE USE OF
THE MODULOR VISUAL MEASURE SYSTEM.
THE BASIC IDEA WAS TO CREATE SIMPLE,
CHEAP FURNISHINGS THAT WOULD BE
SUITABLE FOR THE SPACE AVAILABLE.
CASSINA HAS REWORKED THE PROJECT
DESIGNED FOR CHILDREN’S BEDROOMS
STANDARD OBJECTS/STANDARD NEEDS
THE RANGE FEATURES TWO STOOLS, ONE
CREATED FOR LE CORBUSIER'S SUMMER HOME
AND THE OTHER FOR A UNIVERSITY
ACCOMMODATION PROJECT, EACH COMPRISING A
RECTANGULAR BOX WITH DOVETAIL JOINTS AT
THE CORNERS AND SLOTS IN EACH SIDE FOR EASY
MOBILITY

13. THIS WORK TABLE IS IN OAK AND COMPRISES CABINETS WITH
OPEN SHELVING AND A WORKTOP SUPPORTED BY ONE LEG.
OPEN UNITS ARE ALSO SOLD SEPARATELY AND CAN BE ADDED
TO THE REST OF THE SYSTEM.
 AN "INTERFACE" PROJECT, MEANING IT WAS DESIGNED
AS A LINK BETWEEN MAN AND HIS HOME.
WITH ITS PURE AND SIMPLE FORMS,
THIS PIECE OF FURNITURE HAS STOOD
THE TEST OF TIME AND IS TODAY
MANUFACTURED FOR THE GENERAL
PUBLIC, WHICH IS A SIGN OF ITS
DESIGNER'S GREAT MODERNITY.

14. LC4 - CHAISE LONGUE
(LONG CHAIR), 1928

15. LC4 - CHAISE LONGUE (LONG CHAIR), 1928
INTRODUCTION
DESIGNED IN 1928, THE LC4 CHAISE LONGUE (OR "LONG
CHAIR" IN ENGLISH) WAS DUBBED THE "RELAXING
MACHINE" BECAUSE OF THE WAY IT MIRRORS THE
BODY'S NATURAL CURVES WHILE APPEARING TO FLOAT
ABOVE ITS SUPPORTS.
AN INFINITE NUMBER OF SITTING ANGLES ARE
ACHIEVABLE WITH THE LC4, AS THE MOVEABLE FRAME
ADJUSTS ALONG THE BASE, FROM UPRIGHT TO FULL
RECLINE.
FRAME :
TUBULAR STEEL FRAME, BLACK STEEL BASE
DIMENSIONS :
L=1650MM, H=600MM – 880MM(ADJUSTABLE),
W=580MM
• IT MIRRORS THE BODY'S NATURAL CURVES.
• THE MAIN BODY OF THE CHAIR DETACHES FROM THE BLACK
STEEL FRAME, AND IT CAN BE ADJUSTED TO COUNTLESS
POSITIONS ALONG THE FRAME.
• DETACHABLE HEADREST PILLOW.
FRONT
ELEVATION
SIDE ELEVATION

16. FORMAL PURITY
•THE MATTRESS PAD IS SUPPORTED BYA SERIES
OF BROAD ELASTIC STRAPS.
•STRAPS ARE DIRECTLY HOOKED TO THE UPPER
FRAME AND IS LIGHTLY PADDED WITH
POLYESTER
A PERSON AT REST
•THE BROKEN LINE OF THE MATTRESS PAD SUPPORT IS
VERY ELEGANTLY CONTRASTED WITH THE BROADLY
CURVED CRADLE SUPPORT,
• INSPIRED BY THE KANGAROO SOFA FROM VIRGINIA, USA
IN 1830.
• THE UNCONVENTIONAL CURVES WERE CONCEIVED TO
ACCOMMODATE A PERSON AT REST

17. AUTHENTIC COMFORT
•THE UPPER PART OF THE CRADLE RESTS ON THE
PEDESTAL AND CAN BE ADJUSTED.
• STABILITY IS ASSURED AT ANYANGLE OF
INCLINATION BY THE FRICTION AGAINST THE
RUBBER THAT COVER THE PEDESTAL
CROSSPIECES.
CUSHIONS
• PAD & HEADREST FILLED WITH LOW
DENSITY POLYURETHANE FOAM.
• THE CUSHION CAN BE REMOVED AS AND
WHEN DESIRED
• THE POSITION OF THE CUSHION CAN BE
CHANGED ACCORDING TO A PERSONS
POSITION.

19. THANK YOU