Charles-Édouard Jeanneret-Gris, known as Le Corbusier, was a Swiss-French architect and designer known for his contributions to modern furniture design. In the 1920s and 1930s, Le Corbusier began designing sleek modern furniture made of tubular steel and leather for his architectural projects. Some of his most iconic designs from this period include the LC4 Chaise Longue lounge chair from 1928 and the Basculant chair from the same year. Le Corbusier's furniture was characterized by clean lines, minimal ornamentation, and an emphasis on functionality and efficiency of space. His designs came to epitomize the International Style and remained popular due to their timeless and elegant aesthetic.
A brief description on Le Corbusier's life, design philosophies & some projects including a detailed case study. I recommend viewers to download the presentation and then view it bcoz many slides (slide 12) are apparently useless without animation!!
- Rakesh Samaddar
Dept. of Architecture
IIT Kharagpur
India
A brief description on Le Corbusier's life, design philosophies & some projects including a detailed case study. I recommend viewers to download the presentation and then view it bcoz many slides (slide 12) are apparently useless without animation!!
- Rakesh Samaddar
Dept. of Architecture
IIT Kharagpur
India
The famous American architect, Frank Lloyd Wright changed the way we build and the way we live. As an architect, Frank Lloyd Wright was known for many things, but perhaps his most famed characteristic was his exceptional attention to detail – in many of his projects, each furniture piece was designed specifically for its intended location.
Post-Modern Architecture - An international architectural movement that emerged in the 1960s, became prominent in the late 1970s and 80s, and remained a dominant force in the 1990s.
Philip johnson- history of architectureSelf employed
ACCORDING TO PHILIP JOHNSON ‘CRUTCHES’ BY WHICH ARCHITECTS EVADE THEIR REAL RESPONSIBILITIES ARE:
HISTORY - JUSTIFYING ELEMENTS WHICH ARE EARLIER USED.
UTILITY - IF UTILITY OF A BUILDING OVERCOMES ARTISTIC INVENTIONS ,THEN IT IS MERELY AN ASSEMBLAGE OF USEFUL PARTS.
DESIGN ACCORDING TO HIS BELIEF – “ TO GO AGAINST THE GRAIN”
DECONSTRUCTIVIST ARCHITECTURE – “ HE PRESENTED DESIGN ISSUE IN STRICTLY STYLISTIC TERMS.”
The famous American architect, Frank Lloyd Wright changed the way we build and the way we live. As an architect, Frank Lloyd Wright was known for many things, but perhaps his most famed characteristic was his exceptional attention to detail – in many of his projects, each furniture piece was designed specifically for its intended location.
Post-Modern Architecture - An international architectural movement that emerged in the 1960s, became prominent in the late 1970s and 80s, and remained a dominant force in the 1990s.
Philip johnson- history of architectureSelf employed
ACCORDING TO PHILIP JOHNSON ‘CRUTCHES’ BY WHICH ARCHITECTS EVADE THEIR REAL RESPONSIBILITIES ARE:
HISTORY - JUSTIFYING ELEMENTS WHICH ARE EARLIER USED.
UTILITY - IF UTILITY OF A BUILDING OVERCOMES ARTISTIC INVENTIONS ,THEN IT IS MERELY AN ASSEMBLAGE OF USEFUL PARTS.
DESIGN ACCORDING TO HIS BELIEF – “ TO GO AGAINST THE GRAIN”
DECONSTRUCTIVIST ARCHITECTURE – “ HE PRESENTED DESIGN ISSUE IN STRICTLY STYLISTIC TERMS.”
Sittingculture offers wide range of premium chairs for offices in India. Browse a large selection of premium chairs, executive chairs online at affordable price.
Ergonomic Design of an office chair for people working in office for long hours sitting in a chair. It improves the efficiency and productivity of the employees as well as the company.
Hva er det som gjør en merkevare til et ikon?
Eller hva er det som gjør et ikon til en merkevare? Og er ikke verden i ferd med å ikonifiseres?
Er designere generelt litt engstelig for ikon-begrepet? Nja, litt usikker selvfølgelig, for her er det ingen undersøkelse å lene seg på. Bare en mistanke. Men hovedantagelsen er at vi vil nyte godt av å ufarliggjøre begrepet, både merkevareier, designere og kunder, slik at det i større grad blir jaktet på ikoner.
Byrået Design Container har ikonifisert 40 områder for Miljøstatus.no. Arbeidet ble premiert med bronse i kategorien Corporate Illustration under European Design Awards 2015. Det er fortjent.
Verden vil ikonifiseres
Runer er en fellesbetegnelse på tidlige skriftsystem. Om ordets opprinnelse finner vi det beskrevet som trylleformular, et mysterie, og hemmelig viten.
At verden ikonifiseres er en konsekvens av stadig mer komplekse systemer og globalisering, og av vi har behov for å forstå uavhengig av det verbale språket. Noe som også nettopp er en styrke i mange sterke merkers vesen. De er høyst sansbare og ukompliserte.
Idol og ikon
Et ikon, av gresk eikon («bilde»), er et religiøst maleri i kristendommen, vanligvis utført på tre. Ikoner er tradisjonsbundet og har en kristen ikonografi.
Ikoner er altså helgenbilder, heltefigurer. Ergo veldig kjent og helst høyst elsket. Begrepet idol (gjennom lat., fra gr. ‘bilde, syn’) avgudsbilde, gudebilde) har omtrent samme opprinnelse, men er ikke like knyttet til et objekt, men snarere til en person.
I dag er det også vanlig å snakke om et ikon som et lite symbol for et program eller en fil i en datamaskin.
Unik + populær = IKON. Når noen snakker om designikoner menes ofte kjente objekter av kjente designere. En stol som er helt unik, og fullstendig annerledes enn en annen stol, som anses av kunnskapsrike på området å inneha betydelig designkvalitet. Og ikke minst kjent og beundret av mange.
Et felles trekk i denne forbindelse er, som med grafiske ikoner, at grepene er hentet fra naturen, og ofte også derav navnet. Sånn sett føyer det seg godt inn i teoriene om at vi mennesker liker helst at ting heter det som det ser ut som. Det er som hjerneklister og svært nyttig for de uten klisterhjerne. Navn, begrep og forestillinger, og la oss ta med navngitte ikoner, er uløselig knyttet sammen.
Einstein og Laban
Selv nobelprisvinner Einstein skal ha sagt jeg forstår bare det jeg kan se for meg. Og vi vet vi bare husker det vi forstår. Så selv om en laban er relativt konkret; en slapp, uvøren lømmel, som noen har et bilde av, så er det en seigmann vi ser. Det er det vi skjønner det er. Det er den sterkeste koblingen.
Vi kan vel da konkludere med at Laban er et designobjekt, et ikon og en høyt elsket merkevare som går under et annet navn enn det som står skrevet øverst på pakningen. Og selv om det har kommet damer med på laget så snakker vi vel fortsatt menn – ? Tror faktisk også...
modern, post-modern architects & their worksgarima23g
this presentation deals with the modern architecture- a few architects of modernist time and their famous works.
it also contains post-modern architecture and architects with their famous works.....!!
He was an architect, designer, urbanist, writer, and one of the pioneers of what is now called modern architecture.
He was a pioneer in studies of modern high design and was dedicated to providing better living conditions for the residents of crowded cities
The presentation covers general details about architect , Villa Sovoye, Centre Le Corbusier and few other works
MODERNISM FIRST EMERGED IN THE 1920.THE PROMINENT FIGURES OF THE MOVEMENT ARE LE CORBUSIER ,WALTER GROPIUS AND LUDWIG MIES VAN DER ROHE.
HOWEVER IT WAS NOT UNTIL AFTER THE SECOND WORLD WAR THAT IT GAINED MASS POPULARITY, AFTER MODERNIST PLANNING WAS IMPLEMENTED AS A SOLUTION TO THE PREVIOUS FAILURE OF ARCHITECTURE AND DESIGN TO MEET BASIC SOCIAL NEEDS.
IN THE POST WAR ERA, THE AMBITIONS OF THE MODERNIST AND THEIR” STRONG SENSE OF SOCIAL RESPONSIBILITY IS THAT ARCHITECTURE SHOULD RAISE THE LIVING CONDITIONS OF THE MASSES”.
CHARACTERISTICS OF MODERNISM:
THE NOTION THAT "FORM FOLLOW FUNCTION”, EXPRESSED BY FLW,S EARLY MENTOR LOUIS SULLIVAN, MEANING THAT THE RESULT OF DESIGN SHOULD DERIVE DIRECTLY FROM ITS PURPOSE.
SIMPLICITY AND CLARITY OF FORMS AND ELIMINATION OF “UNNECESSARY DETAIL”.
MATERIALS AT GO DEGREES TO EACH OTHER.
VISUAL EXPRESSION OF STRUCTURE (AS OPPOSED TO THE HIDING OF THE STRUCTURAL ELEMENTS)
THE RELATED CONCEPT OF” TRUTH TO MATERIAL”, MEANING THAT THE TRUE NATURE OR NATURAL APPEARANCE OF MATERIAL OUGHT TO BE SEEN RATHER THAN CONCEALED OR ALTERED TO REPRESENT SOMETHING ELSE.
USE OF INDUSTRIALLY PRODUCED MATERIALS; ADOPTION OF THE MACHINE AESTHETICS.
PARTICULARLY IN INTERNATIONAL STYLE MODERNISM, A VISUAL EMPHASIS ON HORIZONTAL AND VERTICAL LINES.
An architectural style that emerged around early 1960s and was against the architectural styles advocated by Le Corbusier and Ludwig vies Van der Rohe.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
A Strategic Approach: GenAI in EducationPeter Windle
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This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Model Attribute Check Company Auto PropertyCeline George
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The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
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Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
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
5.
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.
10.
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.
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.