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Charlotte Perriand and Les Arcs

Charlotte Perriand and Les Arcs: a history of comfort and design

Charlotte Perriand (1903-1999) is a French architect and designer who became known by collaborating with Le Corbusier and Pierre Jeanneret, cousin of Corbusier. It is also important for the construction of the first house in the Petite Architecture style, the Abri Bivouac (1936).

Perriand started working with Le Corbusier and Pierre Jeanneret in 1924. Together, they designed the B306 chair and the "Gran Confort" club chair with a steel frame. His first creations were made with expensive and technically difficult materials to work with. However, in the 1930s, her focus became more egalitarian and she began to work with wood and cane, more affordable materials.

She then worked for a few years with Jean Prouvé. However, in 1940, after France surrendered in World War II, Perriand traveled to Japan and Vietnam, before returning to Paris, France, in 1946, where she resumed her work as a freelance designer. One of her major works from this period was the Three Arcs which she designed for Les Arcs, in Savoie, France.

 

Les Arcs, Savoie, France

Les Arcs is one of Perriand's major works. It is a ski resort located in Savoie, France, divided into five areas - Bourg-Saint-Maurice, Arc 1600, Arc 1800, Arc 1950, and Arc 2000. Perriand was responsible for three of these areas: Arc 1600, Arc 1800 and Arc 2000.

The main design concepts were that the buildings should follow the landscape in such a way that when you are on top of the mountain the buildings disappear, and visitors who come to a ski resort do not want to stay in a room. hotel. With that in mind, Perriand designed the buildings to reassemble a staircase, using recesses after a certain level, and following the contour lines of the mountain they are built into.

 

She also focused on creating minimalist spaces, open to the sun and surrounding nature, using glass and bright colors in the interior. The idea was that, as those who stay at the hotel are interested in the nature around the resort, they can see everything around them inside the building and in their rooms.

 

Read also: Charlotte Perriand at the Louis Vuitton Foundation

63312

Charlotte PERRIAND - Les Arcs 1600 hexagonal table

1 800,00
Charlotte Perriand Table hexagonale "Les Arcs 1600" 1969 Table en pin
J4X98

Charlotte Perriand - Les Arcs 1600 wall lights

1 200,00
Charlotte Perriand Rares Sconces Shutters Large Model Les Arcs 1600 Circa 1970 27
83EX8

Le Corbusier / Charlotte Perriand - LC4 - Used Rare

3 400,00
Le corbusier / charlotte Perriand LC4 Cassina Exceptional Edition LC4 in foal
148V6

Charlotte Perriand - Black Berger stool

5 900,00
Charlotte Perriand Rare shepherd stool in black ash H29
P8GEI

Charlotte Perriand - Shepherd's stool - Ash

3 900,00
Charlotte Perriand Shepherd's stool Ash Diameter 31 cm Height 39 cm  
51Q1H

Charlotte Perriand - Pair of chairs - Les Arcs

2 900,00
Charlotte Perriand Pair of Les Arcs chairs 1968 Cassina Edition Rare version in
XEFYS

Charlotte Perriand - Bench S4

690,00
Charlotte Perriand - Bench S4 Pin Les Arcs 1600 Circa 1969 40
4G58K

Charlotte Perriand - Sandoz model stool - Circa 1962

4 500,00
Charlotte Perriand stool Sandoz Les arcs model Circa 1962 Her name is
The great French designers

The great French furniture designers

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Who are the major French furniture designers?

Our furniture is constantly reinventing itself. And although these days tables, beds and other comfortable chairs often have Scandinavian accents, historical pieces of French design still appeal to pupils. We invite you to come back to the big names in French design, the men and women who have revolutionized interiors while democratizing access to furniture.

Le Corbusier (1887, La Chaux-de-Fonds, 1968, Roquebrune-Cap-Martin)

It is undoubtedly one of the most famous names in French architecture, town planning and design. Swiss of origin, Le Corbusier, born Charles-Edouard Jeanneret-Gris, was naturalized French in 1930. We owe him a new concept of collective housing where the facilities are combined in a single building and whose Radiant City is a proud example. But he also designed pieces of furniture. Architecture and furniture indeed work in concert, both complementing each other.

It is mainly in the 20 years that Le Corbusier, in collaboration with his cousin Pierre Jeanneret and his disciple Charlotte Perriand, designs a whole range of furniture. Some of this furniture is still edited by Cassina. Among Corbusier's most iconic pieces of furniture are:

  • LC2 armchair, made of padded and leather covered cushions, all resting on a tubular steel structure
  • LC4 lounge chair, shaped like a swing to hug the body and made of chromed steel and leather or cowhide

Jean Prouvé (1901, Paris - 1984, Nancy)

He wanted to create a "work for all", modern houses and furniture accessible to the greatest number. Jean Prouvé is a French architect and designer who first trained in ironwork. Sheet steel naturally becomes one of these materials of choice. He produces many metal elements for buildings, such as staircase handrails or elevator guards.

Jean Prouvé also has furniture produced in series using industrial machines. We can cite in particular the Compass Office, created in the 50s, whose metal foot recalls the narrow and pointed legs of the measuring instrument and which is one of the emblematic forms of the designer. Antony beds with their sheet metal structure are also representative of his work.

Charlotte Perriand (1903, Paris - 1999, Paris)

Disciple of the Corbusier and major figure of the design of the 50 years, Charlotte Perriand invents a style as poetic as minimalist, inherited in particular from her stays in Japan. She likes wood, paper, straw ... Charlotte Perriand is the creator of many iconic pieces of designer furniture, including:

  • Ombra Tokyo chair, made from a single molded piece of bent plywood. It seems to fold like origami paper in a simple, clean style.
  • Petalo coffee tables : 5 in number, they all offer a different colored tray and can be retracted into each other to then open into a flower with triangular and rounded petals.

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Charlotte Perriand, (born October 24, 1903, Paris, France, died October 27, 1999, Paris), French designer known for her iconic XNUMXth century furniture, such as the LC "Grand Confort Armchair" set of modernist living room furniture including a chair, two sofas and an ottoman, one of the many collaborations with Le Corbusier and Pierre Jeanneret, his cousin.

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Perriand grew up in Paris, where his father worked as a tailor and his mother was a seamstress. During her childhood, she traveled to the isolated mountainous region of Savoy, France, where her paternal grandparents resided. Later in life, although she lived and worked in the city and was inspired by the energy of the city, she returned to the French Alps to relax, ski and enjoy the beauty of the nature of the region.

Perriand caught the attention of his junior high school art teacher with her drawing skills. At the insistence of his mother, Perriand attended the School of Central Union of Decorative Arts from 1920 to 1925. It was there, under the artistic direction of the artistic director of the school, Henri Rapin (talented and practicing interior designer), that she flourished, and her work was very promising. Years later, she remembers Rapin's hands-on teaching approach and the discipline that had disciplined her and helped bring an idea from the drawing board to reality. In addition to taking courses, Perriand completes his training and feeds his curiosity by enrolling in courses offered in department stores that house their own design workshops. She attended the conferences of Maurice Dufrêne, director of the workshop La Maîtrise, located at Galeries Lafayette in Paris. Due to its association with the store, Dufrêne called on the students with pragmatic and applicable projects, the results of which could be used by Galeries Lafayette. Perriand's schoolwork revealed to him a skillful designer and his projects were selected and exhibited at the 1925 International Exhibition of Decorative and Modern Industrial Arts. Dufrêne also chose his hanging projects for the Galeries Lafayette; later, this work will be machine-made on a larger scale and used in other interiors designed by Dufrêne.

After graduation, strongly encouraged by Dufrêne and Rapin, who told her that she "had to show to make herself known", Perriand submitted her work to be exhibited in numerous exhibitions. Its most significant entry dates back to 1927 at the Salon d'Automne with its bar under the roof, an installation of furniture, finishes and a built-in bar. With the use of materials such as nickel and a bold design, Under the Roof bar reveals Perriand's preference for an aesthetic that reflects the age of the machine and breaks with the School's preference for finely crafted objects at handmade in exotic and rare woods. With shiny surfaces, reflective metals and blunt geometric shapes, the tapestry was devoid of patterns and warm materials such as wood or soft textiles. This project marked a turning point in his career, as Perriand wholeheartedly embraced the use of steel - a medium previously only used by men - as the material of choice to express new expressions of modern design.

Amid the sudden recognition and success of her work, she expressed some anxiety to a friend, the jewelry designer. Jean Fouquet, about continuing the next project, for which she had no plans. At Fouquet's suggestion, Perriand read the books of Le Corbusier Vers une architecture (1923) and L'Art Décoratif Today (1925), which lead him to work with the author, an innovative and revolutionary architect. She was "dazzled" by his writings; this last book, which eviscerated the decorative arts and, by extension, her education, was in keeping with the new way she had designed. According to Perriand's account, when she arrived in his studio with her portfolio in hand, looking for a job, he said to her with disdain: "We don't embroider cushions in my studio". Not discouraged by his degrading comment, she invites him to the Salon d'Automne to see his work. Le Corbusier, who recognizes a soul mate after seeing his bar under the designer roof, hired her.

From 1927 to 1937, she worked in the workshop, later calling this experience a "privilege". It focused on the interior equipment of the home or furniture designed by the workshop, including the manufacture of prototypes and their final manufacture. She will contribute to the design of three iconic pieces of furniture: the tilt-back seat (1928; "tilt-back chair"; also identified as LC1), the easy chair "Grand Comfort armchair" (1928; LC2 and LC3), and the easy chair long (1928; LC4). Due to Le Corbusier's excellent reputation, he is often given exclusive credit for the conception and design of the chairs. However, as with any highly collaborative endeavor, recognizing the merit of a particular person is problematic. Perriand acknowledged that he set the framework for the general shapes of the chairs and provided design direction, but said she spelled out the details, construction and actual design with Pierre Jeanneret. In the 21st century, the pieces are still sold by the Italian furniture company Cassina, which credits them with being the three designers. Perriand's influence in the workshop extended beyond the furniture and the execution of prototypes. In 1929, she participated in the conception of the trio's vision of modern luxury, "Equipment for the Home", for the Salon d'Automne, which included a complete apartment, with bright kitchen and bathroom.

Soon after leaving Le Corbusier's studio, she began working with Jean Prouvé, a designer who found his niche by executing and designing metallic objects like screens and stair railings using preferred geometric patterns. avant-garde architects. Prouvé was passionate about expressing his art through contemporary means and materials; Perriand fully subscribed to it. The Prouvé workshop being inundated with projects for the French army during the war, Perriand designed military barracks and furniture for temporary housing. When France surrendered in 1940, the team disbanded, but met in the spring of 1951. She then recalled with great affection her deep respect and friendship with Prouvé, noting her death as a "terrible loss" for her.

 

The day the Germans arrived to occupy Paris, Perriand left France for Japan. About five weeks before her departure, she had received a flirtatious invitation from the Japanese Embassy in Paris, requesting her expertise in industrial design for the Department of Trade Promotion, under the sponsorship of the Imperial Ministry of Commerce and Industry. . In order to increase the flow of Japanese products to the West, the ministry insisted on entrusting this task to a foreigner. Apparently, she was there to challenge the status quo among Japanese artisans, designers and architects. However, her own work has been greatly inspired by the myriad of experiences she has encountered. About seven months after arriving in Japan, she had requested (and obtained) an exhibition that was the culmination of tireless and passionate research through which she engaged with artisans, from traditional artisans to modern designers. Throughout the show, the use of natural materials like wood and bamboo was omnipresent, deviating completely from the aesthetic she had refined in Le Corbusier's studio. Some Japanese, keen to go beyond these materials, viewed the exhibition as somewhat primitive and not very progressive, as many of the objects were not suitable for mass production. The negative reactions did not prevent him from returning to Japan in 1955 for a second exhibition, "Proposition d'une synthese des arts".

Perriand continued to work with former colleagues such as Prouvé, Le Corbusier and Jeanneret while making new connections with others like Fernand Léger, the Brazilian architect Lúcio costa and the Hungarian architect Ernö Goldfinger. The projects are as varied as the locations: design of rustic lodges without decor in the French Alps (1938), kitchen prototypes for the Unité d'Habitation in Marseille (1950) and Tokyo (1959), commercial interiors for Air France in London (1958). Her latest and greatest project - the Les Arcs ski resort in Savoie (1967-1965) - unites her work and the landscape she remembers so fondly from her youth. These designs demonstrate the caliber, value and longevity of Perriand's rich contribution to the profession.

In 1985 "Charlotte Perriand: Un Art de Vivre", a major retrospective of her distinguished work, was presented at the Musée des Arts Décoratifs in Paris. Asked about the exhibition, she deplores the weight of looking back and discovering "the things she left behind her a long time ago ...". She preferred to look to the future. Reinventing her design philosophy, embracing change and being ready to experiment have allowed her work to be relevant and suitable for highly collaborative and productive exchanges. In 1998, the year before her death, she published an autobiography, Une Vie de Création (Charlotte Perriand: A Life of Creation).

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Andrée Putman (1925, Paris - 2013, Paris)

He is one of the big names in interior design and architecture. Andrée Putman, a true ambassador of luxury and French chic, has become known throughout the world, from New York to Hong Kong, for her sober and minimalist conception of design. Andrée Putman owes her international reputation first of all to her remarkable intervention at the Morgans Hotel in New York, for which she imagines a geometric bathroom dominated by black and white checkered tiles. She was also the one who designed Jack Lang's office in 1982, all in refined, geometric, wooden furniture without artifice ...

She also speaks about her interior design through the development of numerous hotels, restaurants, tea rooms and luxury boutiques around the world. It was André Putman who, first, popularized open-plan and airy "loft".

Pierre Paulin (1927, Paris - 2009, Montpellier)

His creations are exhibited in museums all over the world: at the MoMA in New York, at the Pompidou Center and at the Museum of Decorative Arts in Paris, at the Victoria Art Museum in London ... And countless retrospectives, exhibitions and books that explore the work of French designer Pierre Paulin. The chairs and chairs he imagines, with organic and colorful shapes, whose cushions are covered with an expandable fabric cover, are still popular. Let's mention some of the iconic seats signed Pierre Paulin:

  • Mushroom
  • Tongue Chair
  • Ribbon Chair
  • Orange Slice Chair

Philippe Starck (1949, Paris)

Let's finish with the best known contemporary French designers: Philippe Stark. Since the 80 years, he revolutionized the codes of design, bringing a new dimension both ecological and democratic. He collaborates with major publishers, such as Kartell, Alessi or Vitra. Among these most popular pieces of furniture are:

  • The Louis Ghost armchair, a colored and transparent plastic chair that combines the classicism of a Louis XV armchair with the modernity of plastic.
  • The Mi Ming-Xo armchair: it's time, it's ancestral China that is summoned, in a polycarbonate armchair full of curves and transparency.
  • The Costes armchair: a seat that combines the elegance of mahogany and leather with the robustness of lacquered steel.

Notice to amateurs and collectors: some creations signed by these great names in French design are regularly reissued. And original copies are sure to fuel auctions and online shops.

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"Charlotte Perriand" at the Louis Vuitton Foundation

Exhibition "Charlotte Perriand" At the Louis Vuitton Foundation 

From 2 October 2019 to 24 February 2020  Foreword  The exhibition at the Louis Vuitton Foundation celebrating Charlotte Perriand is a first for its size and purpose. Certainly, Charlotte Perriand is recognized as one of the leading figures of the design world of the 20ème century but the exhibition has the privilege to present Charlotte Perriand as a visionary woman, who embraces the 20ème century and creates the key elements of the contemporary lifestyle as artistic and intellectual interactions of the 20th century society. She was an exceptional personality, a woman committed to lead a true evolution - not to say revolution - of the consideration and the look on the world and its cultural and artistic expressions which place it at the heart of a new order of things, of a new relationship between the arts themselves, architecture, painting, sculpture ..., among the most differentiated world cultures, Asia (Japan, Vietnam ...), Latin America, Brazil; between the movements of society, the political order and the place of women, the relationship to rurality, the transition from a society inherited from the XNIXXth century to the contemporary model of the 19th century marked by cataclysms such as totalitarianism or world wars followed by reconstructions both physical and moral.  Finally, Charlotte Perriand will be particularly visionary and will show a unique premonition for her consideration of the environment, with her amazed, inspired and sensitive eyes on nature and the place of man in front of her. Charlotte Perriand's awareness of the place of the individual in his environment aroused in her an ever vivacious and constructive dialogue with this nourishing nature that we find in all her engagements - intellectual as well as artistic - and in her vision of avant-garde of the "new workshop" of a world in motion, of a new art of living. As a person, she develops and thus takes an essential place in the way of life and the new spirit of our contemporary societies.  Presentation of the exhibition On the occasion of the twentieth anniversary of the disappearance of Charlotte Perriand (1903-1999), la Louis Vuitton Foundation dedicates a large exhibition to him on the links between art, architecture and design. A pioneer of modernity, the architect and designer Charlotte Perriand is particularly known for her essential contribution to the field of design. The Foundation offers the visitor a journey through the XXst century in all of its galleries, alongside a woman committed to defining a new art of living. The exhibition intends to retrace the architectural work of Charlotte Perriand, whose work anticipates the contemporary debates around women and the place of nature in our society. It offers the visitor the opportunity to step into the modern world, thanks to reconstructions, scientifically faithful, integrating works of art selected by Charlotte Perriand to embody his vision of the synthesis of the arts. Through this exhibition, the work of Charlotte Perriand invites us to rethink the role of art in our society It is the object of delectation and is also the spearhead of tomorrow's societal transformations. THE IDEAL APARTMENT (1 Gallery) The ground floor will be dedicated to the invention of a modernity oscillating between fascination for industry, political commitment and necessary return to nature. In the 1920 years, Charlotte Perriand imagines a "lifestyle" breaking with the codes of her time. Inspired by the world of cars, cinema and rethinking the role of women, she designs for her studio of Saint-Sulpice (1927) chromed steel furniture which testifies to an astonishing modernity, then studies a project entitled “Work & sport” (1927) which illustrates his vision of the modern apartment. Associated with Le Corbusier and Pierre Jeanneret, she designs in dialogue with them "icons" such as the "chaise longue" or the "great comfort armchair" which take place in an ideal apartment, presented during the 1929 Autumn Salon. POLITICAL COMMITMENT & RETURN TO NATURE (Gallery 2) Aware of the pitfall of a modernity dedicated to functionalism, it operates in the 1930 years a return to nature and is committed to a renewal of housing. She denounces "The great misery of Paris" in housing and offers with the House of the young man (1935) a space where light intertwines, works of art, found objects and modern furniture. The confrontation between his photographs of raw art and the drawings of Fernand Léger illustrates the strength of a nature in which Charlotte Perriand draws her inspiration, creating her first "free forms" with organic curves. JAPAN & RECONSTRUCTION (Gallery 4) Invited to Japan in 1940 to guide the country's production in the field of applied arts, she presents an exhibition entitled "Selection-Tradition-Creation" (4 Gallery) which calls for rethinking the living space and the use of traditional materials, such as bamboo. She influences a generation of Japanese designers and draws new sources of inspiration from this culture. After the Liberation, she took part in the Reconstruction, calling on artists, such as Fernand Léger, Pablo Picasso or Alexandre Calder for her projects. In 1947, the magazine Elle the consecrated Minister of Reconstruction, in a hypothetical 1er women's ministry. The student rooms she draws for the House of Mexico (1952) and the House of Tunisia (1952) illustrate his reflection on minimum space and the interweaving between furniture, architecture and art. This Reconstruction is of course physical but also metaphorical, with the ambition of offering men and women an essential renewal after the trauma of war. Its window unveiling a drawing by Picasso (Nelson's family home, 1947), the selection of “useful forms” that she produced for an exhibition at the Musée des Arts décoratifs (1949-1950), as well as the kitchen. open space of the Marseille housing unit are all examples of this poetic function that Charlotte Perriand intends to offer. A SYNTHESIS OF ARTS AND CULTURES (5 Gallery, 6 and 7) The continuity between Art and Architecture is embodied in the exhibition "Proposal for a Synthesis of the Arts" which opens in Tokyo in 1955 (5 Gallery). Charlotte brings together her fellow travelers, Fernand Léger and Le Corbusier, but also Hans Hartung and Pierre Soulages, by designing a space that unites paintings, sculptures, tapestries, furniture and architecture, abolishing the boundaries of disciplines. His goal is to transform everyday life through the arts by creating a new relationship to the world, new social interactions, less compartmentalized and soliciting the senses. This utopian proposal is brought to Paris by the Steph Simon Gallery (6 Gallery) which diffuses the emblematic creations of the art of living of Charlotte Perriand. The residence she imagines in Rio (7 Gallery) illustrates the ability of this tireless creator to renew herself throughout her career, while always remaining true to her principles: to design useful forms, integrating avant-garde technologies as well as the know-how of different cultures. CHARLOTTE PERRIAND AND THE ARTS (Galerie 9) The last level of the Foundation will present unknown aspects of the work of Charlotte Perriand, including her contribution to the world of museums and collectors (9 Gallery). The equipment of the Museum of Modern Art (1965), the apartment of the collector Maurice Jardot (1978) and the new design of the Louise Leiris gallery (1989) define spaces that invite dialogue between the visitor and the works. Charlotte Perriand is also a great "builder". ARC ARCHITECTURE (8 Gallery and 10) Reflecting on prefabrication as early as the 1930 years, she imagined with Pierre Jeanneret a "Barrel Refuge" (1938), all at once shelter and invitation to travel. This love of nature and mountains explains the strength and discretion of the architecture that Charlotte Perriand draws for Les Arcs ski resort in Savoie (1967-1989). Rivals ingenuity as to their inscription in the slope, its buildings offer their occupants places of rest, but also of contemplation, with spectacular framing of the alpine peaks (10 Gallery). Finally the last gallery of the course (11 Gallery) will invite the visitor to a meditation on the place of nature and the importance of the dialogue of cultures, with the Tea House (1993), produced for UNESCO and interacting with works by Japanese artists, such as Sofu Teshigahara and Isao Domoto. The scientific committee of the exhibition brings together five commissioners: Jacques Barsac, Sébastien Cherruet, Gladys Fabre, Sebastien Gokalp, Pernette Perriand; and Arthur Rüegg as scientific advisor for the re-enactments.
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