This LC2 Loveseat was created by Le Corbusier in 1928 as a part of the “Le Petit Comfort” collection for the Salon d’Automne in Paris. This 3-piece collection has become easily recognizable by its iconic polished steel external frames. The clean, straight lines of the LC2 collection help define the meaning of French modern classic design. There are six separate removable cushions, one on each side, back and bottom. The top-grain genuine leather is expertly hand-sewn and piped. One of the most functional and efficient mid-century designs. The LC2 and LC3 style items are popular in both commercial and residential environments.
- Width: 51″ x Height: 26.5″ x Depth: 28″
- Seat Height: 18″
- Product Material: Stainless steel frame, polished to a mirror shine.
- Upholstered in Top-grain Italian leather or aniline dyed leather on all sides.
* All measurements are approximations.
Le Corbusier was born as Charles-Édouard Jeanneret-Gris (1887-1914) in La Chaux-de-Fonds, a small city in Neuchâtel canton in north-western Switzerland, in the Jura mountains, just 5 kilometres (3.1 mi) across the border from France.
He began experimenting with furniture design in 1928 after inviting the architect, Charlotte Perriand, to join his studio. His cousin, Pierre Jeanneret, also collaborated on many of the designs. Before the arrival of Perriand, Le Corbusier relied on ready-made furniture to furnish his projects, such as the simple pieces manufactured by Thonet, the company that manufactured his designs in the 1930s.
In 1928, Le Corbusier and Perriand began to put the expectations for furniture Le Corbusier outlined in his 1925 book L’Art Décoratif d’aujourd’hui into practice. In the book he defined three different furniture types: type-needs, type-furniture, and human-limb objects. He defined human-limb objects as: “Extensions of our limbs and adapted to human functions that are type-needs and type-functions, therefore type-objects and type-furniture. The human-limb object is a docile servant. A good servant is discreet and self-effacing in order to leave his master free. Certainly, works of art are tools, beautiful tools. And long live the good taste manifested by choice, subtlety, proportion, and harmony”.
The first results of the collaboration were three chrome-plated tubular steel chairs designed for two of his projects, The Maison la Roche in Paris and a pavilion for Barbara and Henry Church. The line of furniture was expanded for Le Corbusier’s 1929 Salon d’Automne installation, ‘Equipment for the Home’.