520 Accordo
This low table, with its
audacious sculptural look, was designed by Charlotte Perriand on the occasion
of the retrospective exhibition of her works held at the Musée des Arts
Décoratifs in Paris in 1985. Originally intended as a one-off, this was among Perriand’s
last works. When it joined the Cassina portfolio, Accordo was only available in
a black lacquer finish. Today, as fresh-looking as it was when first launched,
the colour options include China red and marron glacé. Placing several of these
tables together creates highly impactful geometric compositions that play on
their proportions to conjure a unique sense of suspension. These clean-cut and
visually dynamic shapes can fulfil a number of interpretations in grand style,
enabling the object itself to become a centre of attraction.
About Designer | |
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Charlotte Perriand |
Charlotte Perriand full membership of that avant-garde
cultural movement which, from the first decades of the twentieth century,
brought about a profound change in aesthetic values and gave birth to a truly
modern sensitivity towards everyday life. In this context, her specific
contribution focuses on interior composition, conceived as creating a new way
of living, still today at the heart of contemporary lifestyle. In the sphere of twentieth century furnishing history,
the advent of modernity made possible the entrepreneurial audacity of this true
reformer of interior design. At the beginning of her professional career she
was acclaimed by critics for her Bar under the roof, exhibited at the Salon d’Automne
in 1927 and constructed entirely in nickel-plated copper and anodized
aluminium. In the same year, when she was just twenty-four years old, she began
a decade-long collaboration with Le Corbusier and Pierre Jeanneret, at the
famous design studios at 35, rue de Sèvres in Paris. Her presence in the Le Corbusier studio is visible in
all the furnishings designed with him and with Pierre Jeanneret: and so
Charlotte Perriand becomes a cornerstone in the reformation project promoted by
the architect, adding a distinct dimension of humaneness to the often cold
rationalism of Le Corbusier. In her creations she manages to animate the
fundamental substance of daily life with new aesthetic values: in particular
her talent and intuition in the discovery and use of new materials manifest
themselves to their full extent. The ten-year long collaboration with Le Corbusier and
Pierre Jeanneret, and her Japanese experience, represent periods of intense
creative effervescence in the life of the artist. During her long stay in the
Far East (‘40-‘46), she reveals her artistic talent to the full, through a
reinterpretation of the reality of life to echo both tradition and modernity.
By way of example, worthy of mention are the furnishings produced using
traditional bamboo processing techniques, capable of enhancing the new forms
already experimented using steel-tubing. After her work as a professional, she concentrates on
a series of original and balanced productions, commissioned by top-level
authorities and leading companies of the calibre of Air France, and by a number
of foreign organizations, authenticating the fame she had by now gained on the
international scene.
The distinguishing factor of Charlotte Perriand’s
personality is a sincere loyalty to the principles of humane and innovative
rationalism, preserved intact in her projects, on which she worked with such
passion, also in readiness for their revival in the “Cassina I Maestri”
collection. |