TL3

A refined console that turns into a comfortable and large table

Rationalism in a modern key

An icon of design

Table de conférence - Atelier Le Corbusier, Paris
A round table with steel lattice base, polished in LC colours (semigloss grey, green or black) with top in natural oak, black-stained oak or American walnut.
Le Corbusier designed a table in 1958, intended for both home décor and conferences with an organic structure that is also rational at the same time. The key to the project is the use of two geometrical fi gures set one against the other. The circle is a sturdy horizontal tabletop in oak and the cube is made of steel tubes, which form a weave of perpendicular levels with outstanding aesthetic value.

Adapté par Charlotte Perriand en 1984
Table glace claire pieds chromés barre laquée
A series of tables and low tables, square and rectangular, with legs in chrome steel and painted frame available in the different colours of Le Corbusier’s original palette. The original table, designed by three masters of architecture, was presented as a desk in “l’Equipement Intérieur d’une Habitation” at the Salon d’Automne in Paris in 1929. Charlotte Perriand revisited the original design in 1984, producing solutions capable of offering different versions that meet today’s practical requirements. Cassina reissued it in 1985.
 

Table La Roche
Rectangular tables with polished trivalent chrome plated (CR3) or semigloss light blue enamel steel frame. Tops in Canaletto walnut, natural oak or black-stained oak thickn. 50 mm (2”), crystal or textured glass thickn. 15 mm (0.6”). With table-tops coming in two dimensions, 120x80 and 160x120, the tables designed for the La Roche house in 1925 bring solutions for diff erent positions. Their spirit lies in the contrast of the proportions between the two elements; the support and what is supported, that is to say the pedestal of minimum width for its vertical shape, and the top of maximum width for its horizontal dimension. The contrast of the dimensional relationship, stressed also in other Le Corbusier designs, confirms the presence of plastic-poetic merit, prevalently articulated in the inversion of the roles of the elements; the vibrating lightness of the table-top against its real weight, and the comforting stability of the pedestal against its visual delicacy.

Trestle table with frame and top in American walnut or in natural ashwood or ashwood stained black. The assembly is by means of screws and two dark brass pulleys which ensure the stability of the frame. Cavalletto, a trestle table with a well-designed structure for a feeling of total lightness. The frame is based on opposing forces and has the characteristic look of a temporary design with a strikingly sophisticated form thanks to the elegant detailing of its metal stays teamed with its carefully shaped borders.

A series of small round tables, created in 2014 masterfully designed by Piero Lissoni. The tables come in a high or low version, with diff erent sized tops, which also include two sizes for a small dining table. The 9 tables adapt, like understated and elegant accessories, to a range of furnishing situations, thanks to the wide assortment of materials in perfect harmony with the finishes of the Cassina collection. They include solid dyed black wood or Canaletto walnut, three types of marble, Carrara white, Marquiña black or Carnico grey for the bases and for the tops, or versions with bases in the three types of marble with glass tops in different colours.
The coffee tables come with support in anthracite o mat chestnut brown colours.

Table tube d’avion, section ovoïde
The key idea at the heart of this table is to make a distinction between its load bearing base and the top that was to be supported.
Each piece is completely autonomous and this is highlighted by the addition of the four middle support pieces used to adjust the height and keep the slim rectangular top in place over its the heavy base. The steel base is enamelled in the Le Corbusier’s colours palette: black, light blue, grey, green, mud and ivory with tops in crystal, textured glass or in the fi nishes natural or black stained oak or American walnut and in white Carrara or black Marquiña marble.
 

Included as one of the tables en forme libre created between 1938 and 1939, the final design was developed in 1952 for the students’ rooms of the Maison du Mexique at the Cité Universitaire Internationale in Paris. With a frame designed to be as compact as possible, the tables could be juxtaposed to create larger, symmetrical units. In 1952, the wooden legs were replaced by triangular-section bent metal. In 1956, the lowlevel version was created for the Galerie Steph Simon in Paris. The generous depth of the wooden table-top, available in solid wood, as well as with a gloss or matte finish, resonates with rare beauty. Meanwhile, form follows function in the edges form, reflecting the size of the human hand. New dining versions are added for 5 or 6 people, a new bar version and two new heights for the low tables. In addition, a number of new finishes enhance further the potential for these tables to work together and serve new purposes.

Table with top in solid wood with rounded surface. The staves forming the surface have visible side joints. Three support legs, one larger and oval shaped and two smaller, cylindrical ones. Finishes in open-pored black lacquered oak or mahogany. Designed in 1938 for her atelier in Montparnasse, this table, with its rounded asymmetrical shape,is well suited to the smallest of spaces, highlighting the naturally beauty of the wood used to make it. What is more thanks to the table’s lack of corners many people can sit at it at once, making this an inviting table for a truly convivial gathering. Wood is a natural material, subject to changements caused by external factors such as sunlight, temperature, humidity, daily use. These changements are not to be considered as faults but peculiarities of the material, emphasizing its natural beauty.

The Boboli table is characterised by its geometrically ordered lines, where the structural challenge facing Cassina was to ensure the stability of the slim-line twisted uprights that form the base. These uprights, both load-bearing and decorative, pay homage to the canons of the classical Italian garden, where plants were often trained vertically. The sinuous form of these aluminium legs confers a sculptural look to the design, where rigour and imagination come together to challenge the limits and the very nature of the material from which they are made. After several updates and revisitations, Cassina presented the latest iteration of the Boboli table in 2016, further improving its stability and resistance by fixing the table-top to the base. The construction excellence of the series is further enhanced by the painted aluminum bases available in matt black, gold chrome and gunmetal. A new version with 200 cm diameter and optional Lazy Susan is also available.

A collection of dining tables, both contemporary and sculptural, where the designer’s expertise in metalwork comes together with Cassina’s crafts skills and excellence in carpentry work. This clean-cut, essential design consists of a slender table-top fitted onto super-slim legs, in wood, or anodised or painted aluminium. Set at the very end of the table-top, and diagonally to it, the legs afford extra space to the guests. This design was especially challenging to Cassina’s Research Unit, and they responded by creating an innovative solution that is not only stable, but also strong while taking up minimal space. The collection includes two square tables as well as one oval option with a lacquered or veneer top and a solid wood trim. There are also three rectangular versions, one of which is in solid wood. The latter includes a concealed metal mechanism designed to counter the tensions and movements of the wood over time. The models with veneered tops have precious edges in solid wood.
 

Tables with polished chromium plated steel frame. Crystal table, thickness 12 mm (0.5”), with bevelled edge under the top.