Committee Chairs (Yellow Model)
Manufactured by Government Workshops, Chandigarh
India, 1953
Teak, leather upholstery

Measurements (each)
60 × 66 × 95h cm
23,5 × 26 × 37,2h in

Provenance
High Court, Chandigarh, India
Private Collection

Details
Manufacturer’s Label

Literature
Seguin, P. (2014). Le Corbusier Pierre Jeanneret: Chandigarh, India., pp. 158–159, 162, 283.
Touchaleaume, E., & Moreau, G. (2010). The Indian Adventure, pp. 232–233, 563–564.
Gilpin, J. Object Chandigarh.

About
The Committee Chair was designed by Pierre Jeanneret for the High Court of Chandigarh in the early 1950s. Created for formal administrative spaces, the chair reflects the dignified yet restrained aesthetic that characterized the furnishings of the city’s governmental institutions.
Crafted in solid teak with leather upholstery, the chair combines robust construction with carefully balanced proportions. The angular wooden structure and broad seating surface provide both comfort and durability, qualities essential for furniture intended for intensive institutional use.
Today the Committee Chair is regarded as one of the most recognizable seating designs produced for the High Court interiors.

Biography
Pierre Jeanneret (1896–1967) was a Swiss architect and designer and a key collaborator of his cousin Le Corbusier. Working mainly in Paris during the early decades of his career, he co-founded an architectural studio with Le Corbusier in 1922, where they developed influential modernist ideas in architecture, urban planning, and furniture design, often collaborating with Charlotte Perriand.
Jeanneret played an important role in the development of modern furniture and architecture associated with their studio, contributing to projects presented at the Salon d'Automne and to many of the architectural works that defined the modern movement.
Later in his career he moved to India, where he worked closely with Le Corbusier on the planning and construction of Chandigarh. There he served as the city’s chief architect for several years, designing numerous public buildings, housing projects, and furniture pieces that became emblematic of the city’s modernist identity.