Charlotte Perriand: a century of design

From her collaborations with Le Corbusier to the resort of Les Arcs, (re)discover the history and work of Charlotte Perriand... From her collaborations with Le Corbusier to the resort of Les Arcs, (re)discover the history and work of Charlotte Perriand... Born in 1903 in Paris, this independent woman in a field - architecture and design - that was exclusively male at the beginning of the previous century, crossed the twentieth century by never ceasing to multiply her projects. Until the end of her life, in 1999, this native of Savoie continued to exercise her talent. In 1993, at the age of 90, she created the Maison de Thé Maison de Thé , a space dedicated to Japanese tea culture, at the request of Japanese film-maker Hiroshi Teshigahara for UNESCO. A glimpse of the Maison de Thé created by Charlotte Perriand in 1993 and reconstructed according to the original plans on the 2nd floor under the glass roof of Le Bon Marché in 2011. Source: autourdellesblogspot A glimpse of the Maison de Thé designed by Charlotte Perriand in 1993 and reconstructed according to the original plans on the 2nd floor under the glass roof of Le Bon Marché in 2011. Source: autourdellesblogspot Overview of the Maison de Thé designed by Charlotte Perriand in 1993 and reconstructed according to the original plans on the 2nd floor under the glass roof of Le Bon Marché in 2011. Source: autourdellesblogspot But why call on a French designer to revisit the quintessence of Japanese culture? On 15 June 1940, Charlotte Perriand embarked for Japan, where she was offered the post of design advisor to the Japanese Ministry of Trade. For seven years, interspersed with a trip to Indochina, Perriand discovered the uniqueness of Japanese craftsmanship: woodwork and a sense of purity. She returned to Japan in the 1950s and presented a major exhibition in the Japanese capital in 1955: Proposition d'une synthèse des arts, Paris 1955. Le Corbusier, Fernand Léger, Charlotte Perriand. Proposition d'une synthèse des arts, Paris 1955. Le Corbusier, Fernand Léger, Charlotte Perriand. View of the exhibition: Proposition d'une synthèse des arts, Paris 1955. Le Corbusier, Fernand Léger, Charlotte Perriand. View of the exhibition: Proposition d'une synthèse des arts, Paris 1955. Le Corbusier, Fernand Léger, Charlotte Perriand. On either side of the table, armchairs with polished chromed steel frame, OMBRA, 1953. Rare stacking pedestal table known as the "Air France Table", 1953. In the bookcase, a work by Fernand Léger, to whom Charlotte Perriand was very close. On either side of the table, polished chromed steel armchairs, OMBRA, 1953. Rare stacking pedestal table known as the "Air France Table", 1953. In the bookcase, a work by Fernand Léger, to whom Charlotte Perriand was very close. The famous OMBRA TOKYO chair, designed in 1954 by Charlotte Perriand in Japan and presented a year later at her major exhibition in Tokyo. This light, stackable chair is a direct reference to the Japanese tradition of origami, the art of folding. Like a sheet of paper, Perriand's chair takes shape through subtle folding. Source: lvc-design The famous OMBRA TOKYO chair, designed in 1954 by Charlotte Perriand in Japan and presented a year later at her major exhibition in Tokyo. This light, stackable chair is a direct reference to the Japanese tradition of origami, the art of folding. Like a sheet of paper, Perriand's chair takes shape through subtle folding. Source: lvc-design The famous OMBRA TOKYO chair, designed in 1954 by Charlotte Perriand in Japan and presented a year later at her major exhibition in Tokyo. This light, stackable chair is a direct reference to the Japanese tradition of origami, the art of folding. Like a sheet of paper, Perriand's chair takes shape through subtle folding. Source: lvc-design Inspired by her first period in Japan, the designer was able to count on the emblematic Nancy architect and designer Jean Prouvé (1901-1984) to help her mass-produce furniture influenced by Japanese aesthetics. In the early 1950s, Ateliers Jean Prouvé produced furniture by Perriand. Of particular note from this period is the designer's work on the combinatorial elements of a bookcase. Inspired by her first period in Japan, the designer was able to count on the emblematic Nancy architect and designer Jean Prouvé (1901-1984) to enable her to mass-produce furniture influenced by Japanese aesthetics. In the early 1950s, Ateliers Jean Prouvé produced furniture by Perriand. Of particular note from this period is the designer's work on the combinatorial elements of a bookcase. Bookcase for the Maison de Tunisie, designed by Charlotte Perriand, 1952. Manufactured by Ateliers Jean Prouvé and André Chetaille. Source: blog-espritdesign Bibliothèque de la Maison de Tunisie, design Charlotte Perriand, 1952. Manufactured by Ateliers Jean Prouvé and André Chetaille. Source: blog-espritdesign Bibliothèque de la Maison de Tunisie, design Charlotte Perriand, 1952. Manufactured by Ateliers Jean Prouvé and André Chetaille. Source: blog-espritdesign La maison du Mexique bookcase, designed for the Maison du Mexique in Paris in 1952. A double-sided piece of furniture used as a removable partition to separate two living spaces. As with the Tunisia bookcase, Perriand invented an airy aesthetic, cheerful colours and new ergonomics thanks to the removable metal compartments wedged between the shelves. Source: barnies La maison du Mexique library, designed for the Maison du Mexique in Paris in 1952. A double-sided piece of furniture used as a removable partition to separate two living spaces. As with the Tunisia bookcase, Perriand invented an airy aesthetic, cheerful colours and new ergonomics thanks to the removable metal compartments wedged between the shelves. Source: barnies La maison du Mexique library, designed for the Maison du Mexique in Paris in 1952. A double-sided piece of furniture used as a removable partition to separate two living spaces. As with the Tunisia bookcase, Perriand invented an airy aesthetic, cheerful colours and new ergonomics thanks to the removable metal compartments wedged between the shelves. Source: Charlotte Perriand barnies, NUAGE storage system. Cassina is now reissuing the modular storage systems designed by Charlotte Perriand in the early 1950s.source: cassina Charlotte Perriand, NUAGE storage system. Cassina is reissuing the modular storage systems designed by Charlotte Perriand in the early 1950s.source: cassina Charlotte Perriand, NUAGE storage system. The modular storage systems designed by Charlotte Perriand in the early 1950s are now being reissued by the publisher Cassina.Source: cassina But before Charlotte Perriand was in demand in Japan and could count on the tutelary figure of Jean Prouvé, she very soon proved herself with another emblematic figure of twentieth-century architecture, Le Corbusier Le Corbusier (1887-1965). After graduating from the Union Centrale des Arts Décoratifs (UCAD) in 1925, the young Charlotte was quickly spotted following the presentation, two years later, of her famous Bar sous le toit Bar sous le toit at the Salon d'automne. At the age of 24, the furniture presented by this dynamic young woman was highly avant-garde, breaking with the Art Deco style and bringing modern, industrial materials such as steel into fashion. She perfected her design in 1928 when she presented her Salle à Manger 1928 Salle à Manger 1928 at the Salon des artistes décorateurs. Charlotte Perriand, Bar sous le toit, 1927. For Perriand, this was a true reproduction of the hall in her flat on Place Saint Sulpice in Paris. Very modern, it features a space equipped with a curved bar top, stools and a sofa, as well as a coffee table. The shiny steel bar furniture is a real eye-catcher, as are the violet-blue and pink leather armchairs. Source: architectural-review Charlotte Perriand, Bar sous le toit, 1927. For Perriand, this was a true reproduction of the hall in her flat on Place Saint Sulpice in Paris. Very modern, it features a space equipped with a curved bar top, stools and a sofa, as well as a coffee table. The shiny steel bar furniture is a real eye-catcher, as are the violet-blue and pink leather armchairs. Source: architectural-review Charlotte Perriand, Bar sous le toit, 1927. For Perriand, this was a true reproduction of the hall in her flat on Place Saint Sulpice in Paris. Very modern, it features a space equipped with a curved bar top, stools and a sofa, as well as a coffee table. The shiny steel bar furniture is a real eye-catcher, as are the violet-blue and pink leather armchairs. Source: architectural-review Charlotte Perriand, Dining Room 1928, presented at the 1928 Salon des Arts Décoratifs. Around her extendable table with chromed tubular steel legs are 2 Fauteuils Pivotants B 302, modelled on kitchen swivel stools. Source: centrepompidou © F.L.C. / Adagp, Paris 2007 Charlotte Perriand, Salle à manger 1928, presented at the 1928 Salon des arts décoratifs. Around her extensible table with chromed tubular steel legs, we can see 2 Fauteuils Pivotants B 302 built on the model of revolving kitchen stools. Source: centrepompidou © F.L.C. / Adagp, Paris 2007 Charlotte Perriand, Salle à manger 1928, presented at the 1928 Salon des arts décoratifs. Around her extensible table with chromed tubular steel legs, we can see 2 Fauteuils Pivotants B 302 built on the model of revolving kitchen stools. Source: centrepompidou © F.L.C. / Adagp, Paris 2007 Charlotte Perriand, Extensible table, 1927. The frame is made of aluminium, and the top is covered with a sheet of rubber that rolls up on ball bearings. Thanks to an internal mechanism, the table can seat 5 to 8 people. Source: centrepompidou © Jean-Claude Planchet - Centre Pompidou, MNAM-CCI /Dist. RMN-GP, © F.L.C. / Adagp, Paris, © Adagp, Paris Charlotte Perriand, Extensible table, 1927. The frame is made of aluminium, and the top is covered with a sheet of rubber that rolls up on ball bearings. Thanks to an internal mechanism, the table can seat 5 to 8 people. Source: centrepompidou © Jean-Claude Planchet - Centre Pompidou, MNAM-CCI /Dist. RMN-GP, © F.L.C. / Adagp, Paris, © Adagp, Paris Charlotte Perriand, Extensible table, 1927. The frame is made of aluminium, and the top is covered with a sheet of rubber that rolls up on ball bearings. Thanks to an internal mechanism, the table can seat 5 to 8 people. Source: centrepompidou © Jean-Claude Planchet - Centre Pompidou, MNAM-CCI /Dist. RMN-GP, © F.L.C. / Adagp, Paris, © Adagp, Paris Charlotte Perriand, Le Corbusier, Pierre Jeanneret, Fauteuil B 302, 1928. Produced by Thonet at the time, the frame is made of chromed tubular steel, the seat is filled with latex foam and the upholstery is leather. Charlotte Perriand, Le Corbusier, Pierre Jeanneret, Fauteuil B 302, 1928. Produced by Thonet at the time, the frame is in chromed steel tubing, the seat is upholstered in latex foam and the covering is in leather. Charlotte Perriand, Le Corbusier, Pierre Jeanneret, Fauteuil B 302, 1928. Produced by Thonet at the time, it has a chromed tubular steel frame, latex foam upholstered seat and leather cover. Charlotte Perriand's modernity and practicality appealed to the famous Swiss architect Le Corbusier, who took her on as a member of his architectural practice in 1927, making her a partner in 1928. For a decade, the designer oversaw the creation of furniture for Le Corbusier's architectural projects. She created pieces of furniture that have since gone down in history, including the famous Chaise Longue LC4 Chaise Longue LC4 , also known as the Chaise Longue Le Corbusier Chaise Longue Le Corbusier , and the Fauteuils LC1 and LC2 Fauteuils LC1 and LC2 . LC4 Chaise Longue Le Corbusier, Pierre Jeanneret and Charlotte Perriand, 1928. Published by Cassina since 1965, the LC4 is one of the most famous models of modern design. Source : cassina Chaise Longue LC4 Le Corbusier, Pierre Jeanneret and Charlotte Perriand, 1928. Published by Cassina since 1965, the LC4 is one of the most famous models of modern design. Source : cassina Chaise Longue LC4 Le Corbusier, Pierre Jeanneret and Charlotte Perriand, 1928. Published by Cassina since 1965, the LC4 is one of the most famous models of modern design. Source: cassina LC1 armchair, design by Le Corbusier, Pierre Jeanneret and Charlotte Perriand, 1928. This ultra-elegant piece, with its sobriety and geometric lines, has now been reissued in its original form by Italian manufacturer Cassina. Source: ambiantedirect LC1 armchair, design by Le Corbusier, Pierre Jeanneret and Charlotte Perriand, 1928. This ultra-elegant piece, with its sobriety and geometric lines, has now been reissued in its original version by Italian manufacturer Cassina. Source: ambiantedirect LC1 armchair, design by Le Corbusier, Pierre Jeanneret and Charlotte Perriand, 1928. This ultra-elegant piece, with its sobriety and geometric lines, has now been reissued in its original version by Italian manufacturer Cassina. Source: ambiantedirect LC2 Poltrona armchair published by Cassina. Design: Le Corbusier, Pierre Jeanneret, Charlotte Perriand, 1928. Classic and rational, the LC2 Armchair is a must-have of 20th-century design, launched in production in 1965. Source : cassina Fauteuil LC2 Poltrona published by Cassina. Design: Le Corbusier, Pierre Jeanneret, Charlotte Perriand, 1928. Classic and rational, the LC2 Armchair is a twentieth-century design icon, in production since 1965. Source : cassina Fauteuil LC2 Poltrona published by Cassina. Design: Le Corbusier, Pierre Jeanneret, Charlotte Perriand, 1928. Classic and rational, the LC2 Armchair is a twentieth-century design icon, in production since 1965. Source: cassina During her years working alongside Le Corbusier, Charlotte Perriand met Junzô Sakakura (1901-1969), the first internationally recognised Japanese architect. It was Sakakura who offered her a position at the Japanese Ministry of Trade in 1940. Although Charlotte Perriand designed avant-garde furniture, she also had a social streak that led her to develop projects in line with the politics of her time. In 1936, at the request of Georges Monnet, Minister of Agriculture in the first Blum government, she redesigned the Ministry's waiting room. To do this, she produced an impressive photomontage designed to promote the Front Populaire's agricultural policy. It was during these years spent working alongside Le Corbusier that Charlotte Perriand met Junzô Sakakura (1901-1969), the first internationally recognised Japanese architect. It was Sakakura who offered her a position at the Japanese Ministry of Trade in 1940. Although Charlotte Perriand designed avant-garde furniture, she also had a social streak that led her to develop projects in line with the politics of her time. In 1936, at the request of Georges Monnet, Minister of Agriculture in the first Blum government, she redesigned the Ministry's waiting room. To do this, she produced an impressive photomontage designed to promote the agricultural policy of the Front Populaire. Photomontages installed in the waiting room of the Ministry of Agriculture in Paris, dedicated to promoting the agricultural policy of the Popular Front, 1936. Source: pixelcreation Photomontages installed in the waiting room of the Ministry of Agriculture in Paris, dedicated to promoting the agricultural policy of the Popular Front, 1936. Source: pixelcreation Photomontages installed in the waiting room of the Ministry of Agriculture in Paris, dedicated to promoting the agricultural policy of the Popular Front, 1936. Source: pixelcreation Photomontage created by Charlotte Perriand and Fernand Léger for the Ministry of Agriculture Pavilion, Exposition internationale des arts et techniques dans la vie moderne, Paris, 1937. Source: stylepark Photomontage by Charlotte Perriand and Fernand Léger for the Pavillon du ministère de l'Agriculture, Exposition internationale des arts et techniques dans la vie moderne, Paris, 1937. Source: stylepark Photomontage by Charlotte Perriand and Fernand Léger for the Pavillon du ministère de l'Agriculture, Exposition internationale des arts et techniques dans la vie moderne, Paris, 1937. Source: stylepark This was not the first time she had used the photographic medium. Also in 1936, she presented another impressive photomontage combining photographs and collages: La Grande Misère de Paris, for the Salon des arts ménagers in Paris. In this 16-metre-long work, she denounced the miserable living conditions of the Parisian working class. Her aim was to draw the attention of elected representatives to the catastrophic state of urban housing in the capital and its suburbs. View of the Charlotte Perriand exhibition at the Musée Nicéphore Niépce, 2012. Photomontage by Charlotte Perriand: La Grande Misère de Paris, created in 1936 for the Salon des arts ménagers de Paris. Source: museeniepce View of the Charlotte Perriand exhibition at the Musée Nicéphore Niépce, 2012. Photomontage by Charlotte Perriand: La Grande Misère de Paris, created in 1936 for the Salon des arts ménagers de Paris. Source: museeniepce View of the Charlotte Perriand exhibition at the Musée Nicéphore Niépce, 2012. Photomontage by Charlotte Perriand: La Grande Misère de Paris, created in 1936 for the Salon des arts ménagers de Paris. Source: museeniepce Charlotte Perriand, Salle de séjour à budget populaire, 3rd Housing Exhibition, Salon des arts ménagers, 1936. In addition to her monumental fresco La Grande Misère de Paris, Charlotte Perriand presented furniture designed for the working classes and affordable to them, demonstrating her commitment to the social issues of her time. Source: mediation.centrepompidou Photography M. Gravot © AchP, Adagp, Paris 200 Charlotte Perriand, Salle de séjour à budget populaire, 3rd Housing Exhibition, Salon des arts ménagers, 1936. In addition to her monumental fresco La Grande Misère de Paris, Charlotte Perriand presented furniture designed for the working classes and affordable to them, demonstrating her commitment to the social issues of her time. Source: mediation.centrepompidou Photography M. Gravot © AchP, Adagp, Paris 200 Charlotte Perriand, Salle de séjour à budget populaire, 3rd Housing Exhibition, Salon des arts ménagers, 1936. In addition to her monumental fresco La Grande Misère de Paris, Charlotte Perriand presented furniture designed for the working classes and affordable to them, demonstrating her commitment to the social issues of her time. Source: mediation.centrepompidou Photography M. Gravot © AchP, Adagp, Paris 200 Charlotte Perriand had a passion for travel and a taste for adventure. A keen skier, she had a great passion for the mountains. In 1936-1937, with the help of the engineer André Tournon, she created prefabricated elements that articulated together using a framework made of light, robust aluminium tubes for the "Refuge Bivouac" on the Col de Mont Joly (Megève). Charlotte Perriand had a passion for travel and a taste for adventure. A keen skier, she had a great passion for the mountains. In 1936-1937, with the help of engineer André Tournon, she designed prefabricated elements that could be articulated together using a framework made of light, robust aluminium tubes for the "Refuge Bivouac" on the Col de Mont Joly (Megève). Description of the Refuge Bivouac, 1936-1937. Designed and built by Charlotte Perriand, Pierre Jeanneret and André Tournon. Charlotte Perriand's smiling face above and below right. Source: slideshare Description of the Refuge Bivouac, 1936-1937. Designed and built by Charlotte Perriand, Pierre Jeanneret and André Tournon. Charlotte Perriand's smiling face above and below right. Source: slideshare Description of the Refuge Bivouac, 1936-1937. Designed and built by Charlotte Perriand, Pierre Jeanneret and André Tournon. Charlotte Perriand's smiling face above and below right. Source: slideshare But one of the major projects of the second half of her life was her participation in the construction of the Les Arcs winter sports resort. Roger Godino, the property developer behind the project, asked her to take part not only in the architecture but also in the town planning and fitting out of the flats. For twenty years, Charlotte Perriand coordinated a team of multidisciplinary talents. But one of the major projects of the second half of her life was her involvement in the construction of the Les Arcs winter sports resort. Roger Godino, the property developer behind the project, asked her to take part not only in the architecture, but also in the town planning and equipment of the flats. For twenty years, Charlotte Perriand coordinated a team of multidisciplinary talents. Les Arcs 1600 resort, view of the flats from the outside. It was Charlotte Perriand who suggested the recumbent buildings cascading down the slope. Although the first plans for the resort date back to 1962, Charlotte Perriand brought her architectural expertise to bear in 1967, at the end of the project with this sleek architecture. She played an active role in the Arc 1800 project and then in the Arc 2000 resort. Souce : mggalerie Station des Arcs 1600, view of the flats from the outside. It was Charlotte Perriand who suggested the recumbent buildings cascading down the slope. Although the first plans for the resort date back to 1962, Charlotte Perriand brought her architectural expertise to bear in 1967, at the end of the project with this sleek architecture. She played an active role in the Arc 1800 project and then in the Arc 2000 resort. Souce : mggalerie Station des Arcs 1600, view of the flats from the outside. It was Charlotte Perriand who suggested the recumbent buildings cascading down the slope. Although the first plans for the resort date back to 1962, Charlotte Perriand brought her architectural expertise to bear in 1967, at the end of the project with this sleek architecture. She played an active role in the Arc 1800 project and then in the Arc 2000 resort. Souce : mggalerie Les Arcs 1600, view of accommodation. The resort's architecture was awarded the "20th Century Heritage" label by the French Ministry of Culture in 2006. With her teams, Charlotte Perriand wanted a site that would blend into the mountain environment to preserve it. Source: lesarcs Les Arcs 1600, view of accommodation. The resort's architecture was awarded the "20th Century Heritage" label by the French Ministry of Culture in 2006. With her teams, Charlotte Perriand wanted a site that would blend into the mountain environment to preserve it. Source: lesarcs Les Arcs 1600, view of accommodation. The resort's architecture was awarded the "20th Century Heritage" label by the French Ministry of Culture in 2006. With her teams, Charlotte Perriand wanted a site that would blend into the mountain environment to preserve it. Source: lesarcs Les Arcs 1600, model of the site. Source: mggalerie Les Arcs 1600, model of the site. Source: mggalerie Les Arcs 1600, mock-up of the site. Source: mggalerie Station des Arcs, flat interior, furnishings and interior layout by Charlotte Perriand. These flats are still available to rent. Source: alti-mag Station des Arcs, flat interior, furnishings and interior layout by Charlotte Perriand. These flats are still available to rent. Source: alti-mag Station des Arcs, flat interior, furnishings and interior layout by Charlotte Perriand. These flats are still available to rent. Source: alti-mag Station des Arcs, Station des Arcs, Apartment designed by Charlotte Perriand. Source: alti-mag Apartment designed by Charlotte Perriand. Source: alti-mag Pair of "Les Arcs" chairs, circa 1960. Chosen by Charlotte Perriand for the "Les Arcs 1600" winter sports resort. Black-tinted tubular metal frame and stretched leather. Source: expertissim Pair of "Les Arcs" chairs, circa 1960. Chosen by Charlotte Perriand for the "Les Arcs 1600" winter sports resort. Black-tinted tubular metal frame and stretched leather. Source: expertissim Pair of "Les Arcs" chairs, circa 1960. Chosen by Charlotte Perriand for the "Les Arcs 1600" winter sports resort. Black-tinted tubular metal frame and stretched leather. Source: expertissim Charlotte Perriand, Table monte et baisse made for the flats at Les Arcs, circa 1960. Source: aguttes Charlotte Perriand, Table monte et baisse made for the flats at Les Arcs, circa 1960. Source: aguttes Charlotte Perriand, Table monter et baisse réalisée pour équiper les appartements des Arcs, circa 1960. Source: aguttes Charlotte Perriand, "Les Arcs" coffee table, circa 1965. Model with a pentagonal top in laminated wood on a height-adjustable base in blackened steel with four runner legs. Source: baronribeyre Charlotte Perriand, "Les Arcs" coffee table, circa 1965. Model with a pentagonal top in laminated wood on a height-adjustable base in blackened steel with four skate legs. Source: baronribeyre Charlotte Perriand, "Les Arcs" coffee table, circa 1965. Model with a pentagonal top in laminated wood on a height-adjustable base in blackened steel with four legs. Source: baronribeyre Several exhibitions in recent years have showcased Charlotte Perriand's many projects and works. The Centre Pompidou paid tribute to her in 2005-2006, with the first monographic exhibition devoted entirely to her since her death in 1999. If you would like to find out more, you can read the various works devoted to her by historian Jacques Barsac, who is the husband of Charlotte's daughter, Pernette Perriand. Several exhibitions in recent years have highlighted Charlotte Perriand's many projects and works. The Centre Pompidou paid tribute to her in 2005-2006, with the first monographic exhibition devoted entirely to her since her death in 1999. If you would like to find out more, you can read the various works devoted to her by historian Jacques Barsac, who is the husband of Charlotte's daughter, Pernette Perriand. François Boutard François Boutard François Boutard

Charlotte Perriand: a century of design

Read our other blogs too

Whoppah explores: Eames Lounge Chair

At home with Michael

Whoppah explores: Ludwig Mies van der Rohe

Whoppah explores: Frank Lloyd Wright