LC4 Chaise Longue Brown Pony

LC4 Chaise Longue Brown Pony

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100% Made in Italy. Chaise-longue with adjustable inclination. Base element in metal and steel, lacquered in matt black. Cradle with frame in chromed steel with springs through elastic straps. Mattress made of polyurethane– cover in leather with fur white/black/brown.
Roll head cushion in polyurethane foam or feathers with cover in leather pony.
Designed by Le Corbusier with Pierre Jeanneret and Charlotte Perriand, the “chaise longue à réglage continu” - also known as B306 - was presented at the “Salone d’Automne” in Paris in 1929, as part of the “Equipement interieur d’une habitation”. Certainly, the most famous classic of the “Le Corbusier group”, it is constituted by two independent elements: the base and the cradle. The cradle - that follows the curves of the human body - appears to waver on its base, and it can slide without any mechanisms, with a continual gliding, that consequently allows any angles. It remains stable thanks to the friction of steel and rubber, covering the crosspieces of the base. Le Corbusier defined it as “the relaxing machine” and said that, for its design, he thought of a cowboy smoking his pipe, sitting with his feet up, on the edge of a fireplace. Matt black lacquered metal and steel base. Cradle with polished chrome or lacquered tubular steel frame, and springs through elastic straps. Mattress padded with polyurethane foam. Leather, pony or fabric upholstery. Headrest with feathers padding, and leather or fabric upholstery.

Additional Info

SKU 1300PM
Dimensions L160 P56,5 H84 cm
Structure Schema C06


  • 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.