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Le Corbusier’s concern for housing also made him reflect upon the role of furniture. In his book L’art décoratif d’aujourd’hui, published in 1925, he demonstrated his interest for the practical design of office furniture, mass production and the equipment of ship’s cabins, seeking in them a path for renovation, in opposition to the decadence of bourgeois furniture.

For Le Corbusier “the human-limb objects are type-objects that respond to type-needs: chairs to sit on, tables to work on, devices for lightning.” This reflection of 1925, along with Charlotte Perriand’s incorporation to his studio in 1927, lead to a more normative attitude in the production of furniture. The prolific collaboration between both designers gave rise to the creation of a series of furniture in which the pivoting chair, the basculant armchair, and the chaise longue stood out. In these pieces their creators proposed a significant dialogue between the organic and the geometric that is emphasized by the contrast of the materials employed.