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134:. Her work aimed to create functional living spaces in the belief that better design helps in creating a better society. In her article "L'Art de Vivre" from 1981 she states "The extension of the art of dwelling is the art of living â living in harmony with man's deepest drives and with his adopted or fabricated environment." Charlotte liked to take her time in a space before starting the design process. In Perriand's Autobiography, "Charlotte Perriand: A Life of Creation", she states: "I like being alone when I visit a country or historic site. I like being bathed in its atmosphere, feeling in direct contact with the place without the intrusion of a third party." Her approach to design includes taking in the site and appreciating it for what it is. Perriand felt she connected with any site she was working with or just visiting she enjoyed the living things and would reminisce on a site that was presumed dead.
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is removed from the base and set on a flat surface, it rocks very smoothly. The chair has double tubing at the sides and a lacquered sheet metal base. The legs unintentionally resemble horse hooves. Perriand took this and ran with it, finding pony skin from
Parisian furriers to cover the chaise. Perriand wrote in a memoir: "While our chair designs were directly related to the position of the human body...they were also determined by the requirements of architecture, setting, and prestige". With a chair that reflects the human body (thin frame, cushion/head) and has decorative qualities (fabrication, structural qualities) they accomplished this goal. It wasn't instantly popular due to its formal simplicity, but as modernism rose, so did the chair's popularity.
273:.She designed metal objects, like screens and stair railings. The war turned their focus to designing military barracks and furnishings for temporary housing. In 1940 France surrendered, and they parted ways until 1951. Perriand left France to go to Japan when the Germans arrived to occupy Paris in 1940. She travelled to Japan as an official advisor for industrial design to the Ministry for Trade and Industry. While in Japan she advised the government on raising the standards of design in Japanese industry to develop products for the West. On her way back to Europe she was detained and forced into Vietnamese exile because of the war. Throughout her exile, she studied woodwork and weaving and also gained much influence from Eastern design.
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198:. Her design featured an abundance of light-reflecting aluminium and nickel-plated surfaces, as well as leather cushions and glass shelves. Her design received wide praise from the press and established Perriand as a talent to watch. The Bar sous le Toit showed her preference for designs that represented the machine age, a departure from the preference of the time for finely handcrafted objects made of rare woods. Perriand took advantage of the use of steel as a medium in this project, which formerly was used primarily by men. Despite the success of the Bar sous le Toit in getting her name known, Perriand was not satisfied with creating designs just for the well-off; she wanted to work for
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250:. She also collaborated with the "Jeunes" in 1937 and helped to found the "Union des Artistes Modernes". In her designs from that period, rather than using chrome, which proved to be expensive, she began to use traditional materials such as wood and cane, which were more affordable. She also used some handcrafted techniques which she displayed at the 1935
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In 1928 she designed three chairs from
Corbusier's principles that the chair was a "machine for sitting," and that each of the three would accommodate different positions for different tasks. At Corbusier's request, a chair was made for conversation: the B301 sling back chair; another for relaxation:
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in Savoie combined
Perriand's interests in prefabrication, standardization, industrialization and mountain architecture, and has been called the climax of her career. Since guests would spend most of their time outdoors, Perriand designed minimal rooms, the minimal cell style being a hallmark of her
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Perriand was familiar with Thonet's bentwood chairs and used them often not only for inspiration but also in her designs. Their chaise longue, for this reason, bears some similarity to Thonet's bentwood rocker although it doesn't appear to rock when sitting on the 4-legged base. But when the chaise
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1927 Is interviewed by Le
Corbusier on an October afternoon. After a brief glance at her drawings she is rejected and Le Corbusier bids her farewell with the dry comment "We don't embroider cushions here." She leaves her card with him regardless, and later that year invites Le Corbusier to see her
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and pursue serial production and low-cost housing. She was inspired by his books, because she thought his writings that criticized the decorative arts aligned with the way she designed. When she applied to work at Le
Corbusier's studio in October 1927, she was famously rejected with the reply "We
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Charlotte
Perriand's work was in high demand and she worked on many projects from ski resorts to student housing. She often refused to furnish buildings designed by other architects. However, she was eager to work with Jean Prouvé again, who collaborated with her on and produced several of her
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McLeod, Mary. "Domestic Reform and
European Modern Architecture: Charlotte Perriand, Grete Lihotzky and Elizabeth Denby." In Modern Women: Women Artists at the Museum of Modern Art. Ed. Cornelia Butler and Alexandra Schwartz. New York: Museum of Modern Art
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design. Instead the buildings have great spaces that are open to the nature and the elements. Importantly standardization of the wet units (bathrooms and kitchens) increased efficiency and allowed them to build 500 inhabitable studios very quickly.
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Perriand was born in Paris, France, to a tailor and a seamstress. Her high school art teacher noticed her drawing abilities early on, and her mother eventually encouraged her to enrol in the
Central Union of Decorative Arts school
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Two years after graduating
Perriand renovated her apartment into a room with a built-in wall bar made of aluminium, glass and chrome and a card table with built-in pool-pocket drink holders. She recreated this design as the
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235:; and the last for sleeping: the B306 chaise longue. The chairs had tubular steel frames. In the prototype models, the steel was painted; in production the steel tubes were nickel- or chromium-plated.
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In 1926 Perriand married her first husband, Percy Kilner
Scholefield, and they converted their attic apartment into a 'machine age' interior. In 1930 Charlotte and Percy separated and she moved to
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219:'s studio she was in charge of their interiors work and promoting their designs through a series of exhibitions. Perriand described the work as being highly collaborative between
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2022 Charlotte Perriand award is founded by The Créateurs Design Association & Awards. This is the first time her family has allowed her name to be used beyond her own work.
436:. Her creation, Nuage Bookshelf, impresses him resulting in an invitation by Le Corbusier to join his studio at 35, rue de SĂšvres to design furniture and interiors for him.
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1939 When the Second World War begins, she leaves the Savoie region to return to Paris and to design prefabricated buildings with Jean Prouvé and Pierre Jeanneret.
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Croft, Catherine. âAn Impressive Survey of a Once Underestimated Figure â Charlotte Perriand: Inventing a New World , Fondation Louis Vuitton, Paris.â
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1929 Creates a model modern apartment in glass and tubular steel to be exhibited as Ăquipement d'Habitation (=Living Equipment) at the Salon d'Automne.
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286:(1939â45) there was increased interest in using new methods and materials for mass production of furniture. Manufacturers of materials such as
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159:. Perriand continued her education through attending department store classes that provided design workshops. She also went to lectures by
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Charlotte Perriand: Livre de Bord by Arthur RĂŒegg. Basel: BirkhĂ€user (Princeton Architectural Press); first edition, December 2004.
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and populist. Along with designing furniture and living spaces she was also involved with many leftist organizations, such as the
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Die Liege LC4 von Le Corbusier, Pierre Jeanneret und Charlotte Perriand (Design-Klassiker) by Volker Fischer. Basel: BirkhÀuser.
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1942 Forced to leave Japan as an "undesirable alien", but is trapped by the naval blockade and spends the rest of the war in
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which she read at this time also had a major impact on her work and she referenced it throughout the rest of her career.
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Antonio Stefanelli. 2020. âThe Art of Daily Life Objects Charlotte Perriand and Clara Porset Dialogue with Tradition.â
1332:. Paris: Archives Charlotte Perriand; Zurich, Switzerland: Scheidegger & Spiess, 2014â2017. ISBN 978-3-85881-778-5.
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1325:. Paris: Archives Charlotte Perriand; Zurich, Switzerland: Scheidegger & Spiess, 2014â2017. ISBN 9783858817488.
1307:. Paris: Archives Charlotte Perriand; Zurich, Switzerland: Scheidegger & Spiess, 2014â2017. ISBN 9783858817464.
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Barsac, Jacques: Charlotte Perriand: Complete Works. Volume 2: 1940â1955. Zurich: Scheidegger & Spiess, 2015.
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After working with Le Corbusier for a decade she "stepped out of his shadow into a successful career of her own."
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1946 Returns to France and revives her career as an independent designer and her collaboration with Jean Prouvé.
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1934 Designs the furniture and interior fixtures for Le Corbusier's new apartment on the Rue Nungesser-et-Coli.
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From Tubular Steel to Bamboo: Charlotte Perriand, the Migrating Chaise-longue and Japan by Charlotte Benton.
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From Tubular Steel to Bamboo: Charlotte Perriand, the Migrating Chaise-longue and Japan by Charlotte Benton.
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Charlotte Perriand and Photography: A Wide-Angle Eye by Jacques Barsac. Five Continents, February 2011.
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don't embroider cushions here." A month later however, Le Corbusier visited the Bar sous le Toit at the
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300:. Designers who exhibited their experimental work at the salons in this period included Perriand,
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Hinchman, Mark: History of Furniture. New York: Fairchild Books, 2009. pp. 493â496. Print.
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Hinchman, Mark: History of Furniture. New York: Fairchild Books, 2009. pp. 493â496. Print.
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Charlotte Perriand: Un Art D'Habiter, 1903â1959 by Jacques Barsac. Norma Editions, 2005.
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Charlotte Perriand: Modernist Pioneer by Charlotte Benton. Design Museum, October 1996.
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Charlotte Perriand: A Life of Creation by Charlotte Perriand. Monacelli, November 2003.
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designs from 1951 to 1953. She also designed the interiors and kitchens for the famous
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2021 Exhibited in the Design Museum, London, as "Charlotte Perriand: The Modern Life"
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installation at the Bar sous le Toit filled with tubular steel furniture at the
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One Hundred Houses for One Hundred European Architects of the Twentieth Century
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1962 Begins a long-running project to design a series of ski resorts in Savoie.
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on the interior of their Maison du Brésil at the Cité Universitaire in Paris.
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1957 Designs the League of Nations building for the United Nations in Geneva.
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1174:"Jeanne Gang named recipient of Le Prix Charlotte Perriand 2023 by CDA"
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1928 Designs three chairs with Le Corbusier and Pierre Jeanneret (the
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Exposition Internationale des Arts DĂ©coratifs et Industriels Modernes
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Charlotte Perriand by Elisabeth Vedrenne. Assouline, November 2005.
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1978 Commissioned to design unique furniture pieces for architect
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227:(his cousin) and herself; they were "three fingers on one hand."
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Collective affinity â architect Charlotte Perriand â Interview
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Some of her work at that particular period of time includes:
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1111:"How to pick up a rare piece of Charlotte Perriand furniture"
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Axonometric view of a typical unit in the Unité d'Habitation
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Chaise Longue (1928) by Charlotte Perriand and Le Corbusier
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After finishing her work with Le Corbusier she worked with
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1937 Leaves Le Corbusier's studio to collaborate with the
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Charlotte Perriand: Complete Works. Volume 4: 191968-1999
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1959 Works with Le Corbusier and the Brazilian architect
935:"Charlotte Perriand, Stepping Out of Corbusier's Shadow"
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Charlotte Perriand: Complete Works. Volume 3: 1956â1968
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Charlotte Perriand: Complete Works. Volume 1: 1903â1940
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on the design of the French Tourist Office on London's
194:(=Bar under the roof, i.e. "in the attic") at the 1927
1052:"Design classic: Nuage bookcase by Charlotte Perriand"
767:. New York City: The Monacelli Press. pp. 58â60.
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Association des Ăcrivains et Artistes RĂ©volutionnaires
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Charlotte Perriand: An Art of Living by Mary McLeod.
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She died three days after her 96th birthday in 1999.
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RĂŒegg, Arthur; Lindberg, Steven (3 September 2004).
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1950 Designs a prototype kitchen for Le Corbusier's
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294:, aluminum, and steel sponsored the salons of the
126:; 24 October 1903 â 27 October 1999) was a French
1395:Works by Charlotte Perriand and Biographical info
690:Interior Design (furniture) of Charlotte Perriand
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528:1947 Works with Fernand LĂ©ger on the design of
465:(CIAM) conference and designs fixtures for the
980:Espegel Alonso, Carmen; Giral, Angela (2018).
850:"Charlotte Perriand, Designer, Is Dead at 96"
635:, and presentation of a retrospective at the
149:Ăcole de l'Union Centrale des Arts DĂ©coratifs
83:Ăcole de L'Union Centrale des Arts Decoratifs
8:
1342:Prat-Couadau, Nathalie and Deke Dusinberee.
955:. Demisch Danant. 2010-10-20. Archived from
898:Charlotte Perriand: Livre de Bord, 1928â1933
463:CongrĂšs International d'Architecture Moderne
1158:: CS1 maint: numeric names: authors list (
821:"Charlotte Perriand | French designer"
1012:: CS1 maint: location missing publisher (
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238:In the 1930s Perriand's focus became more
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546:1951 Organised the French section of the
1391:by Hendel Teicher, ArtForum, Summer 1999
1380:, Paris, 7 December 2005 â 27 March 2006
1028:"Charlotte Perriand: A Life of Creation"
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702:Nuage bookcase (manufactured by Cassina)
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1346:Paris: Skira, 2019. ISBN 9782370741042.
982:Women architects in the modern movement
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629:1998 Publication of her autobiography,
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1049:Watson-Smyth, Kate (18 October 2013).
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765:Charlotte Perriand: A Life of Creation
622:1985 Retrospective of her work at the
505:and to work on a ski resort in Savoie.
483:1933 Travels to Moscow again and also
1136:"Charlotte Perriand: The Modern Life"
1065:from the original on 11 December 2022
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1109:Evans, Christina Ohly (2020-10-21).
953:"Les Salon des Artistes DĂ©corateurs"
848:Iovine, Julie V. (7 November 1999).
615:, France. These pieces were sold at
557:1953 Collaborates on design of the
487:to participate in CIAM conferences.
900:. Basel: BirkhÀuser. p. 287.
35:Charlotte Perriand in Japan (1954)
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1425:20th-century French women artists
792:. Cologne: Taschen. p. 308.
411:Allée Charlotte Perriand in Paris
252:Brussels International Exposition
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297:Société des artistes décorateurs
211:Work with Le Corbusier 1927â1937
184:Musée des Arts Décoratifs, Paris
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1344:Living with Charlotte Perriand.
1420:20th-century French architects
1339:, no. 1 (January 1, 2020): 58.
480:headquarters project in Paris.
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788:Postiglione, Gennaro (2004).
642:1999 Dies in Paris at age 96.
16:French architect and designer
1384:Charlotte Perriand biography
471:Cité Universitaire in Paris
265:Japan and Vietnam 1940â1946
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1445:French furniture designers
1084:Akkam, Alia (2020-12-03).
441:LC2 Grand Confort armchair
1295:Journal of Design History
922:Journal of Design History
624:Musée des Arts Décoratifs
320:Return to Paris 1946â1966
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1465:20th-century woodworkers
476:1932 Starts work on the
312:, Antoine Philippon and
102:Percy Kilner Scholefield
1450:French women architects
1378:Centre Georges Pompidou
825:Encyclopedia Britannica
582:1960 Collaborates with
233:LC2 Grand Confort chair
763:Gamble, Andie (1998).
539:apartment building in
501:on a pavilion for the
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123:[ÊaÊlÉtpeÊjÉÌ]
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503:1937 Paris Exhibition
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119:French pronunciation:
1297:VOL.11, No.1 (1998).
1090:Architectural Digest
924:VOL.11, No.1 (1998).
717:Chaise longue (with
445:B301 reclining chair
282:In the period after
248:Maison de la Culture
1430:Art Deco architects
1058:The Financial Times
941:. 21 November 2019.
632:Une Vie de Création
548:Triennale di Milano
377:The ski resorts at
357:The remodelling of
306:René-Jean Caillette
1435:Art Deco designers
1376:exhibition at the
1374:Charlotte Perriand
1030:. 12 December 2013
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855:The New York Times
537:Unité d'Habitation
449:B306 chaise longue
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373:Les Arcs 1967â1982
327:Unité d'habitation
310:Joseph-André Motte
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155:interior designer
115:Charlotte Perriand
45:Charlotte Perriand
23:Charlotte Perriand
1470:Product designers
1460:Women woodworkers
1353:13 (18): 196â214.
1328:Barsac, Jacques.
1321:Barsac, Jacques.
1316:978-3-85881-747-1
1303:Barsac, Jacques.
1277:978-2-909283-87-6
1244:978-88-7439-548-4
1227:, December 2003.
984:. New York City.
386:The Chaise Longue
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963:2015-04-11
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639:in London.
588:Piccadilly
359:Air France
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