**Simon Hantaï Tabula, bleu, #135, 1976**

**Charlotte Perriand [Cantilever bamboo chair, standard seat and back in bamboo strips, 1940] [Table with top of red pine planks, mounted on a frame, tapered cherrywood base, 1940]**

**Alexander Calder Les Boucliers, 1944**

**Maison de la Tunisie, cité Universitaire, 1952**

**Charlotte Perriand Kinetic wall for the Air France Agency in Tokyo, 1960**

**Pablo Picasso Nude. Woman in an armchair or Bust of a woman or Nude from the back, 1941**

**Charlotte Perriand Nuage bookcase with blocks, 1953**

**Charlotte Perriand Wall lamps with adjustable shutters, 1962**

From Louis Vuitton latest ready-to-wear collection to the Louis Vuitton Foundation. Mixing textures & patterns as well as switching time between art museums is definitely my favorite kind of action, especially if it comes to design & architecture and their impact on society. Always adventurous and loved the unexpected - this time in the space designed by Frank Gehry I couldn’t get enough of Charlotte Perriand and her exposure about very significant dialogue between cultures.

Going to the beginning, Charlotte Perriand was the French architect and designer whose work aimed to create functional living spaces in the belief that better design helps in forming a better community. Due to her outspoken trip to Japan in 1940, where she discovered the daily life of a population that lived on tatamis without tables, chairs, or beds she immediately fell in love with the culture and savoir-faire of the archipelago and their residents. In 1941, her intensive work resulted in a meaningful exhibition “A Contribution to the Interior Furnishings of a House. Selection, Tradition, Creation”. This revolutionary project synthesized her research and gave examples of creating furnishings as subtle, complex, and sensitive as the human body. There is no academicism or modernism, there are not only styles, but the design of forms created in their time and well adapted to their constantly changing age.

Rethinking the world in the art of dwelling is her notable project. She constantly encouraged architects to consider life in contact with art. One of the best examples is founding the “Formes Utiles” movement, which is the result of the vision that “there is art in everything, whether it be an action, a piece of sculpture, a way of being”.

Also in seeing and showing the arts Perriand adopted a new approach for each commission working with the best. From Pablo Picasso, Henri Laurens, Fernand Léger to Alexander Calder, Robert Delaunay, and Simon Hantaï.

Out of many artists worked in Japan, Charlotte Perriand was probably the one who had the greatest influence on the world of unique Japanese design. At this point I have to mention The Tea House, which was “an ephemeral tea area where people could meditate and dream about a new golden age, a place humming with cultural exchange, as well as diversity and universality”. Moreover, she engaged Ikebana master and sculptor Sofu Teshigahara to incarnate a synthesis of the arts by illustrating the meeting between two major and crazy different cultures of Japan and the West, and creating an endless source of harmony and peace.