Styling

Charlotte Perrian: Organic and Modernism

Charlotte Perrian: Organic and Modernism

Charlotte Perriand (1903-1999) – French modernist, architect, designer, photographer, collageist and author of fascinating memoirs. She lived 96 years and, rightly, was considered a participant in the most important battles, a change of paradigms and key events related to the formation and development of European modernism.

Charlotte Perrian: Organic and Modernism

Charlotte Perrian, Le Corbusier and Pierre Jeanneret – creators of the LC4 chaise lounge.

Charlotte Perrian was 24 when she joined the architectural studio Le Corbusier. In the same room of the ancient monastery on the rue du Sèvre, 35. According to legend, Corbusier had at her sketches and said that they do not do embroidering pillows. Perrian left, and the next day Le Corbusier saw an exhibition of her projects and asked to return. All this was in 1927, after which they echoed (Le Corbusier, his cousin Pierre Jeanneret, who became the lover of Charlotte, and herself) fruitfully worked together for ten years. The three of them are made of bent steel tubes – minimalist and incredibly avant-garde.

Charlotte Perrian: Organic and ModernismPhoto of Perryan, lying on the famous chaise longue became a real symbol of the machine age. 1928.

Charlotte Perrian: Organic and Modernism

Sadie Murdoch. Modeling Charlotte Perriand. 2006.

Even those who have never heard her name know exactly the furniture designed on the rue du Sèvre. Although Charlotte Perrian entered the history of the twentieth century, not only as an associate of Corbusier, but also due to her non-trivial treatment of natural motives. Her style – sheared hair, short skirt and beads from steel balls for bearings, eventually began to copy the girls.

Charlotte Perrian and Alfred Roth. Paris, 1927.

The interests of this lady really were extremely wide. On the one hand, Perrian, of course, one of the key figures of modernism, a man fully sharing the aesthetic and formal quest of Le Corbusier in the 1920s. It was she who at first was a fierce defender of furniture made of metal. "Metal plays the same role in furniture as concrete in architecture," said Charlotte Perrian. Man of the twentieth century, an attacker? Yes, if he surrounds himself with antique furniture. No, if he lives in the context of a new interior. "

Charlotte Perrian. Indochina stool Swivel. Modern reissue of Cassina.

On the other hand, she was very sensitive to the village life and natural forms. Charlotte Perryan’s love of nature was formed in childhood. Part of the time she spent in Paris, where her parents worked in the field of commercial fashion, and some in the villages-her mother was from Burgundy, the father of Savoy. At the age of 90, Perrian wrote memoirs. At the very beginning of the narrative, she described the female Savoyards who washed the laundry with ash at the end of each winter and dried it in the fields.

Charlotte Perrian: Organic and Modernism

Paul Gutmann (Paul Gutmann), Archives Charlotte Perriand. © Cassina.

All that her eye knew, all observations of trees, grasses, the river, meadows, fields, all this was reflected in the design of furniture, connecting with the technologies and concepts of modernism.

Charlotte Perrian: Organic and Modernism

On the left: Charlotte Perrian in Savoy. 1935. Right: In his Paris studio in 1927.

Perrian was very healthy, loved sports. Even in her "brilliant" period in the late 1920s, she practiced long hiking, was fond of mountaineering, skiing in the Alps. And attracted to their sports leisure friends from the studio Le Corbusier.

Charlotte Perrian: Organic and Modernism

Charlotte Perrian: Organic and Modernism

In the early 1930s, Charlotte Perrian and Pierre Jeanneret made regular walks to the coast in the neighborhood of Dieppe and in the woods around Fontainebleau. There they collected stones, branches, bones, shells, from which they were then laid out the compositions and photographed. This is pleasant and at the same time experimental form of creativity they are called Art Brut ("raw art").

Charlotte Perrian: Organic and Modernism

Charlotte Perriand (1903-1999) – French modernist, architect, designer, photographer, collageist and author of fascinating memoirs. She lived 96 years and, rightly, rightly, was considered the participant in the most important battles, a change in paradigms and key events related to the formation and development of European modernism.

Charlotte Perrian: Organic and ModernismCharlotte Perrian, Le Corbusier and Pierre Jeanneret – creators of the LC4 chaise lounge.

Charlotte Perrian was 24 when she joined the architectural studio Le Corbusier. In the same room of the ancient monastery on the rue du Sèvre, 35. According to legend, Corbusier had at her sketches and said that they do not do embroidering pillows. Perrian left, and the next day Le Corbusier saw an exhibition of her projects and asked to return. All this was in 1927, after which they echoed (Le Corbusier, his cousin Pierre Jeanneret, who became the lover of Charlotte, and herself) fruitfully worked together for ten years. The three of them are made of bent steel tubes – minimalist and incredibly avant-garde.

Charlotte Perrian: Organic and ModernismPhoto of Perryan, lying on the famous chaise longue became a real symbol of the machine age. 1928.

Charlotte Perrian: Organic and Modernism

Sadie Murdoch. Modeling Charlotte Perriand. 2006.

Even those who have never heard her name is exactly the furniture designed on the rue du Sèvre. Although Charlotte Perrian introduced the history of the design of the twentieth century, not only as an associate of Corbusier, but also due to her non-trivial treatment. Her style – sheared hair, short skirt and beads from steel balls for bearings, eventually began to copy the girls.

Charlotte Perrian and Alfred Roth. Paris, 1927.

The interests of this lady really were extremely wide. On the one hand, Perrian, of course, one of the key figures of modernism, a man fully sharing the aesthetic and formal quest of Le Corbusier in the 1920s. It was she who at first was a fierce defender of furniture made of metal. "Metal plays the same role in furniture as concrete in architecture," said Charlotte Perrian. Man of the twentieth century, an attacker? Yes, if he surrounds himself with antique furniture. No, if he lives in the context of a new interior. "

Charlotte Perrian. Indochina stool Swivel. Modern reissue of Cassina.

On the other hand, she was very sensitive to the village life and natural forms. Charlotte Perryan’s love of nature was formed in childhood. Part of the time she spent in Paris, where her parents worked in the field of commercial fashion, and some in the villages – her mother was from Burgundy, the father of Savoy. At the age of 90, Perrian wrote memoirs. At the very beginning of the narrative, she described the female Savoyards who washed the laundry with ash at the end of each winter and dried it in the fields.

Charlotte Perrian: Organic and ModernismPaul Gutmann (Paul Gutmann), Archives Charlotte Perriand. © Cassina.

All that her eye knew, all observations of the trees, grasses, the river, meadows, fields, all this was reflected in the design of furniture, connecting with the technologies and concepts of modernism.

Charlotte Perrian: Organic and ModernismOn the left: Charlotte Perrian in Savoy. 1935. Right: In his Paris studio in 1927.

Perrian was very healthy, loved sports. Even in her "brilliant" period in the late 1920s, she practiced long hiking, was fond of mountaineering, skiing in the Alps. And attracted to their sports leisure from the studio Le Corbusier.

Charlotte Perrian: Organic and Modernism

Charlotte Perrian: Organic and Modernism

In the early 1930s, Charlotte Perrian and Pierre Jeanneret made regular walks to the coast in the neighborhood of Dieppe and in the woods around Fontainebleau. There they collected stones, branches, bones, shells, from which they were then laid out the compositions and photographed. This pleasant and at the same time the experimental form of creativity they called Art Brut ("raw art").

"Man of the twentieth century, an attacker? Yes, if he surrounds himself with antique furniture. No, if he lives in the context of a new interior. "

Charlotte Perrian: Organic and ModernismCharlotte Perrian. La Maison au Bord de l’Eau. Exhibit of the Louis Vuitton exhibition on Art Basel 2014.

Charlotte Perrian: Organic and ModernismCharlotte Perrian. La Maison au Bord de l’Eau. Exhibit of the Louis Vuitton exhibition on Art Basel 2014.

These products are highly influenced by her vision of furniture and she began to introduce organic – and silhouettes and materials throughout the 1930s. She redoubledly picked up the returned fashion for the use of strawberry marketer. I liked her and other materials of traditional rustic furniture.

Charlotte Perrian: Organic and Modernism

Charlotte Perrian. Deckchair Tokyo Outdoor. Cassina.

"I love the precision of the metal, its brilliance and the color of the metal surface lacquered. But I liked the affection of the tree. " Charlotte Perrian even described her clothes very sensually – her armchairs "embrace", "enchant", "caress".

Charlotte Perrian: Organic and Modernism

Charlotte Perrian. Table Forme Libre, c. 1956. Wood. Cassina.

Her passion for organic science intensified in the early 1940s, when she began to study the work of Japanese woodworkers. Charlotte Perrian came to Tokyo at the invitation of the Japanese government to study the work of local artisans. The Second World War began, Perrian could not return to France and remained for several years in Southeast Asia.

Charlotte Perrian: Organic and Modernism

Charlotte Perrian. Chair. Tree. OK. 1947. Jousse Entreprise.

She managed to get to Vietnam. There she married a French diplomat Jacques Martin and there was born her daughter Pernett. Her love for the Japanese architecture of the XVI century, interest in the philosophy of the tea ceremony, fascination with the Vietnamese traditional crafts all this developed for several years. Perian came to the conclusion that traditional crafts should not only be preserved as a national treasure, but it can be combined with modernism.

Charlotte Perrian: Organic and ModernismCharlotte Perrian and Fernand Leger. Agricultural France. Photo collage. 1937.

In addition, Perrian was not at all in the socio-political terms. Quite the contrary. And this too became an important part of her design work. Like many artists and intellectuals in the 1930s, Perrian was alarmed by the ubiquitous spread of fascist ideology and suffered from economic depression.

Charlotte Perrian: Organic and Modernism

Charlotte Perriand (1903-1999) – French modernist, architect, designer, photographer, collageist and author of fascinating memoirs. She lived 96 years and, rightly, was considered a participant in the most important battles, a change of paradigms and key events related to the formation and development of European modernism.

Charlotte Perrian: Organic and ModernismCharlotte Perrian, Le Corbusier and Pierre Jeanneret – creators of the LC4 chaise lounge.

Charlotte Perrian was 24 when she joined the architectural studio Le Corbusier. In the same room of the ancient monastery on the rue du Sèvre, 35. According to legend, Corbusier had at her sketches and said that they do not do embroidering pillows. Perrian left, and the next day Le Corbusier saw an exhibition of her projects and asked to return. All this was in 1927, after which they echoed (Le Corbusier, his cousin Pierre Jeanneret, who became the lover of Charlotte, and herself) fruitfully worked together for ten years. The three of them are made of bent steel tubes – minimalist and incredibly avant-garde.

Charlotte Perrian: Organic and ModernismPhoto of Perryan, lying on the famous chaise longue became a real symbol of the machine age. 1928.

Charlotte Perrian: Organic and Modernism

Sadie Murdoch. Modeling Charlotte Perriand. 2006.

Even those who have never heard her name know exactly the furniture designed on the rue du Sèvre. Although Charlotte Perrian entered the history of the twentieth century, not only as an associate of Corbusier, but also due to her non-trivial treatment of natural motives. Her style – sheared hair, short skirt and beads from steel balls for bearings, eventually began to copy the girls.

Charlotte Perrian and Alfred Roth. Paris, 1927.

The interests of this lady really were extremely wide. On the one hand, Perrian, of course, one of the key figures of modernism, a man fully sharing the aesthetic and formal quest of Le Corbusier in the 1920s. It was she who at first was a fierce defender of furniture made of metal. "Metal plays the same role in furniture as concrete in architecture," said Charlotte Perrian. Man of the twentieth century, an attacker? Yes, if he surrounds himself with antique furniture. No, if he lives in the context of a new interior. "

Charlotte Perrian. Indochina stool Swivel. Modern reissue of Cassina.

On the other hand, she was very sensitive to the village life and natural forms. Charlotte Perryan’s love of nature was formed in childhood. Part of the time she spent in Paris, where her parents worked in the field of commercial fashion, and some in the villages-her mother was from Burgundy, the father of Savoy. At the age of 90, Perrian wrote memoirs. At the very beginning of the narrative, she described the female Savoyards who washed the laundry with ash at the end of each winter and dried it in the fields.

Charlotte Perrian: Organic and ModernismPaul Gutmann (Paul Gutmann), Archives Charlotte Perriand. © Cassina.

All that her eye knew, all observations of trees, grasses, the river, meadows, fields, all this was reflected in the design of furniture, connecting with the technologies and concepts of modernism.

Charlotte Perrian: Organic and Modernism

On the left: Charlotte Perrian in Savoy. 1935. Right: In his Paris studio in 1927.

Perrian was very healthy, loved sports. Even in her "brilliant" period in the late 1920s, she practiced long hiking, was fond of mountaineering, skiing in the Alps. And attracted to their sports leisure friends from the studio Le Corbusier.

Charlotte Perrian: Organic and Modernism

Charlotte Perrian: Organic and Modernism

In the early 1930s, Charlotte Perrian and Pierre Jeanneret made regular walks to the coast in the neighborhood of Dieppe and in the woods around Fontainebleau. There they collected stones, branches, bones, shells, from which they were then laid out the compositions and photographed. This is pleasant and at the same time experimental form of creativity they are called Art Brut ("raw art").

Charlotte Perrian: Organic and Modernism

Charlotte Perriand (1903-1999) – French modernist, architect, designer, photographer, collageist and author of fascinating memoirs. She lived 96 years and, rightly, rightly, was considered the participant in the most important battles, a change in paradigms and key events related to the formation and development of European modernism.

Charlotte Perrian: Organic and ModernismCharlotte Perrian, Le Corbusier and Pierre Jeanneret – creators of the LC4 chaise lounge.

Charlotte Perrian was 24 when she joined the architectural studio Le Corbusier. In the same room of the ancient monastery on the rue du Sèvre, 35. According to legend, Corbusier had at her sketches and said that they do not do embroidering pillows. Perrian left, and the next day Le Corbusier saw an exhibition of her projects and asked to return. All this was in 1927, after which they echoed (Le Corbusier, his cousin Pierre Jeanneret, who became the lover of Charlotte, and herself) fruitfully worked together for ten years. The three of them are made of bent steel tubes – minimalist and incredibly avant-garde.

Charlotte Perrian: Organic and ModernismPhoto of Perryan, lying on the famous chaise longue became a real symbol of the machine age. 1928.

Charlotte Perrian: Organic and ModernismSadie Murdoch. Modeling Charlotte Perriand. 2006.

Even those who have never heard her name is exactly the furniture designed on the rue du Sèvre. Although Charlotte Perrian introduced the history of the design of the twentieth century, not only as an associate of Corbusier, but also due to her non-trivial treatment. Her style – sheared hair, short skirt and beads from steel balls for bearings, eventually began to copy the girls.

Charlotte Perrian and Alfred Roth. Paris, 1927.

The interests of this lady really were extremely wide. On the one hand, Perrian, of course, one of the key figures of modernism, a man fully sharing the aesthetic and formal quest of Le Corbusier in the 1920s. It was she who at first was a fierce defender of furniture made of metal. "Metal plays the same role in furniture as concrete in architecture," said Charlotte Perrian. Man of the twentieth century, an attacker? Yes, if he surrounds himself with antique furniture. No, if he lives in the context of a new interior. "

Charlotte Perrian. Indochina stool Swivel. Modern reissue of Cassina.

On the other hand, she was very sensitive to the village life and natural forms. Charlotte Perryan’s love of nature was formed in childhood. Part of the time she spent in Paris, where her parents worked in the field of commercial fashion, and some in the villages – her mother was from Burgundy, the father of Savoy. At the age of 90, Perrian wrote memoirs. At the very beginning of the narrative, she described the female Savoyards who washed the laundry with ash at the end of each winter and dried it in the fields.

Charlotte Perrian: Organic and ModernismPaul Gutmann (Paul Gutmann), Archives Charlotte Perriand. © Cassina.

All that her eye knew, all observations of the trees, grasses, the river, meadows, fields, all this was reflected in the design of furniture, connecting with the technologies and concepts of modernism.

Charlotte Perrian: Organic and ModernismOn the left: Charlotte Perrian in Savoy. 1935. Right: In his Paris studio in 1927.

Perrian was very healthy, loved sports. Even in her "brilliant" period in the late 1920s, she practiced long hiking, was fond of mountaineering, skiing in the Alps. And attracted to their sports leisure from the studio Le Corbusier.

Charlotte Perrian: Organic and Modernism

Charlotte Perrian: Organic and Modernism

In the early 1930s, Charlotte Perrian and Pierre Jeanneret made regular walks to the coast in the neighborhood of Dieppe and in the woods around Fontainebleau. There they collected stones, branches, bones, shells, from which they were then laid out the compositions and photographed. This pleasant and at the same time the experimental form of creativity they called Art Brut ("raw art").

"Man of the twentieth century, an attacker? Yes, if he surrounds himself with antique furniture. No, if he lives in the context of a new interior. "

Charlotte Perrian: Organic and Modernism

Charlotte Perrian. La Maison au Bord de l’Eau. Exhibit of the Louis Vuitton exhibition on Art Basel 2014.

Charlotte Perrian: Organic and ModernismCharlotte Perrian. La Maison au Bord de l’Eau. Exhibit of the Louis Vuitton exhibition on Art Basel 2014.

These products are highly influenced by her vision of furniture and she began to introduce organic – and silhouettes and materials throughout the 1930s. She redoubledly picked up the returned fashion for the use of strawberry marketer. I liked her and other materials of traditional rustic furniture.

Charlotte Perrian: Organic and Modernism

Charlotte Perrian. Deckchair Tokyo Outdoor. Cassina.

"I love the precision of the metal, its brilliance and the color of the metal surface lacquered. But I liked the affection of the tree. " Charlotte Perrian even described her clothes very sensually – her armchairs "embrace", "enchant", "caress".

Charlotte Perrian: Organic and ModernismCharlotte Perrian. Table Forme Libre, c. 1956. Wood. Cassina.

Her passion for organic science intensified in the early 1940s, when she began to study the work of Japanese woodworkers. Charlotte Perrian came to Tokyo at the invitation of the Japanese government to study the work of local artisans. The Second World War began, Perrian could not return to France and remained for several years in Southeast Asia.

Charlotte Perrian: Organic and ModernismCharlotte Perrian. Chair. Tree. OK. 1947. Jousse Entreprise.

She managed to get to Vietnam. There she married a French diplomat Jacques Martin and there was born her daughter Pernett. Her love for the Japanese architecture of the XVI century, interest in the philosophy of the tea ceremony, fascination with the Vietnamese traditional crafts all this developed for several years. Perian came to the conclusion that traditional crafts should not only be preserved as a national treasure, but it can be combined with modernism.

Charlotte Perrian: Organic and ModernismCharlotte Perrian and Fernand Leger. Agricultural France. Photo collage. 1937.

In addition, Perrian was not at all in the socio-political terms. Quite the contrary. And this too became an important part of her design work. Like many artists and intellectuals in the 1930s, Perrian was alarmed by the ubiquitous spread of fascist ideology and suffered from economic depression.

Charlotte Perrian: Organic and Modernism

Charlotte Perrian and Jean Pruve. Bookcase for the Mexican House, 1953.

In the 1930s, she did a large-scale photo collages. Often Perrian worked on them in co-authorship with famous artists, such as, for example, Frenin Leger. In one collage photos, slogans and statistics were combined. These collages are always exposed to some kind of social problem, such as "the squalor of the Paris slums and the countryside."

Charlotte Perrian: Organic and Modernism

Charlotte Perrian and Jean Pruve. Nuage Bibliothèque, 1953. Jousse Entreprise.

Returning to France, Perrian continued experiments with the tree. Created in Le Corbusier’s studio, elite furniture images soon began to irritate her, because they were labor-intensive in execution and the cost of modernist opuses was high. All chairs and couches were accessible only to rich bohemia. From this point of view, according to Pirian’s own design, wooden furniture was cheaper, more accessible and more honest.

Charlotte Perrian: Organic and Modernism

Returning to Farnzia, she collaborated with Le Corbusier and the equally prominent French modernist Jean Prueve, but also led her own projects. Among the most large-scale – a ski resort in the French Alps.

Charlotte Perrian: Organic and Modernism

Building of ski resort Les Arcs, the project of Charlotte Perryan, 1968-1999.

The largest source of authentic late-Perrian furniture is considered to be Les Arcs, a resort over which she worked from 1968 until her death, until 1999. AT Les Arcs combines a rustic Savoy style with Japanese minimalism. When Christmas Day 1969, Charlotte Perryan helped me the maid to make the beds. She saw the guests come and go, including seeing how one family, when leaving, loaded most of the furniture from her room to the car.

Charlotte Perrian: Organic and Modernism

Charlotte Perriand Livre de bord. Memoirs of Charlotte Perian were first published in Paris in 1998.

Most of its post-war projects are aimed at mass consumption. Up to the point that Perrian was dreaming of designing something for the IKEA store. Today objects, originally made for schools, clinics and plants, are sold at auctions for tens of thousands of euros. And in this paradox of the work of Charlotte Perrian.

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