Seating Families

Le Corbusier entrusted his cousin with the adaptation of the furniture to the architectural precepts developed in the context of the Chandigarh project. This was the opportunity for Pierre Jeanneret to implement the synthesis that was imposed by the collaboration between the Paris design office and the one established locally under his direction.

After studying architecture at the Geneva School of Fine Arts, Pierre Jeanneret retained a marked taste for sober materials, sleek frames and simplified, functional constructions with powerful and elegant lines.

Even though Jeanneret never openly supported any theory related to arithmosophy or semiology, he was undeniably aware of the rules of the golden ratio as well as the principles set forth by Le Corbusier in his famous “Modulor”.

One can easily categorise the seating furniture through criteria related to the structures of the seats. The different pieces can thus be divided under four main headings based on the study of leg assemblies:

– inverted “V”-type assemblies, otherwise known as “compass”-type.

– inverted “U”-type assemblies, otherwise known as “bridge”-type.

– “X”-type assemblies.

– “D”-type assemblies.

Closer observation of each of these categories reveals that still other parameters may be taken into account. Subdivisions based on the height of the seats must be established to inventory the inverted “V”-type assemblies:

– A first group, including stools, chairs and armchairs, with a high seat induced by the need for a perfect match with the standardised dimensions of the desks and tables to which these seats were associated.

– A second series distinguished by a seat closer to the floor, offering a position that is favourable to conversation and allowing the user to sit comfortably in a less strictly conventional manner.

Another group designed for a specific purpose must be mentioned to complete the inventory. Indeed, certain chairs clearly display their functional vocation by being equipped with a single armrest intended to serve as a writing desk.

Both the “X” and inverted “U” leg assemblies have the same features as those mentioned above, also offering two versions with high or low seating.

The “D”-type assemblies offer a more marked geometric aspect and appear in stools, chairs and armchairs.

In addition to the models made entirely of wood, several different coverings were employed.

Calling on the rope, string, canework and weaving trades, multiple options were explored to garnish, stuff and cover the seats in order to give the user the best ergonomic relationship between convenience and comfort.

Cotton, moleskin, leatherette and real leather were used for the seats, depending on the hierarchical rank of the user.