Inspired by Le Corbusier

LC3 Grand Confort Grand Modèle

Inspired by Le Corbusier

LC3 Grand Confort Grand Modèle

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Regular Price: £2,109.28

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100% Made in Italy. Armchair with structure in polished chrome or lacquered. Springs through elastic straps. Polyurethane foam padding. Upholstery in leather or fabric.
Presented in 1929 at the Salon d’Automne in Paris, this is the Grand Confort armchair “for women”, which is wider to allow women to sit with their legs crossed in a transversal line. Serial production would become possible only thirty years later, thanks to new techniques and to some modifications, which Swiss interior decorator Heidi Weber suggested to Le Corbusier. Weber recommended also to make sofas, but they were introduced years later, due to firm opposition from Le Corbusier, who retained that the Grand Confort philosophy was applicable exclusively to armchairs, which meets the needs of one person, while sofas have different purposes -- for example favoring social relationships. Polished chrome or lacquered tubular steel frame. Base with double bedded, folded elastic belts. Independent cushions padded with polyurethane foam. Removable leather or fabric upholstery.

Additional Info

SKU 1401
Dimensions L99 P73 H63 HS38 cm
Inspired by Le Corbusier
Structure Schema C05


  • LEATHER QUALITY: 0,8 - 1 mm thick, natural grain
  • CHROMAGE TOP: high thicknesschrome manual brushing and metal
Le Corbusier

Le Corbusier

Le Corbusier


Architecture is about art, a phenomenon that provokes emotion, that goes beyond the problems related to construction, far beyond them. Construction holds things up: architecture touches people’s emotions.

Swiss born, Charles-Édouard Jeanneret-Gris spent his youth travelling through Europe, coming in contact, among other things, with the Sezession environment in Vienna and with Gropius and Mies van der Rohe in Berlin. In his early thirties, he opened his legendary architecture studio in Paris. In addition to becoming immensely famous as an architect, Le Corbusier was also an urban planner, painter, sculptor and writer. His collaborations with his cousin Pierre Jeanneret and Charlotte Perriand were decisive.

Together, they presented a revolutionary one-room studio- apartment at the Salon d’Automne in Paris in 1929, with furniture pieces which embodied the modernist spirit. They were conceived as instruments suitable for furnishing spaces built for the modern man; this explains why Le Corbusier loved to speak of “équipement “. These furnishings had to be useful, an expression of their function. This is the new value proposed by the coupling of form and function: the object, stripped of its ornaments, recovers its implacable and intimate sense of beauty, expressing its very nature in the harmony of its new form, simple and essential. The public’s reaction was predictably hostile. But as fate would have it, the legend was round the corner.