With the iconic 3 Fauteuil Grand Confort, grand modèle - outdoor design armchair, the concept of modernity enforces a separation between the metal support structure and the upholstered elements, reminiscent of the architectural relationship between the concrete skeleton and in-fill paneling.
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PRODUCT CARE AND MAINTENANCE
In this manual you will find some recommendations for the care and maintenance of your Cassina products.
The materials are divided into different categories; each one is accompanied by its own information sheet with instructions, preventative measures and methods for cleaning.
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2019
In the various models of Fauteuil Grand Confort, grand modèle, the concept of modernity is expressed through the separation between the metal support frame and the upholstered elements.
The loose cushions are set inside a painted or chrome-plated tubular steel cage that forms the primary support for the piece in all its variations ‒ from the armchair with armrest on one or both sides, to the two- and three-seat sofas. Over the years, Cassina has worked closely with Charlotte Perriand, her daughter Pernette and the Fondation Le Corbusier to introduce new versions and finishes that, while reinterpreting the original design, remain faithful to its authentic nature.
This includes the outdoor versions, with structure in stainless steel and a special textured paint finish available in five colours. The cushions are upholstered in water-repellent fabric to ensure maximum durability and reliability in all weather conditions.
Regular use of protective covers, available for separate purchase, helps preserve the aesthetic and functional characteristics of the outdoor product.
However, it is recommended to place products intended for outdoor use in controlled environments such as verandas and covered or partially covered terraces, avoiding full exposure to direct sunlight and weather conditions.
I MAESTRI
In 1922, Le Corbusier began working in the new rue de Sèvres, Paris, atelier with his cousin Pierre Jeanneret with whom he shared research projects and design criteria in a profound and life-long professional relationship. In October 1927, the pair decided to draw on the contribution of a young architect who had already begun to establish a reputation on the architectural scene of the time: Charlotte Perriand. Their collaboration lasted through to 1937 and was extremely fruitful, especially in the field of furniture design.
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