Chandigarh, conceived as a new city and symbol of India’s independence — “the expression of national hope for the future,” as Nehru put it — has become an enduring icon of 20th-century architecture and design. Established from scratch after the 1947 partition of Punjab to replace Lahore as the Indian capital, Chandigarh was envisioned as a modern, functional city reflecting the aspirations of a newly independent nation. Le Corbusier, appointed chief architect, was joined by Pierre Jeanneret, E. Maxwell Fry, and Jane B. Drew to bring this ambitious vision to life.

From 1951 to 1967, Jeanneret dedicated nearly fifteen years on-site, overseeing the construction of hundreds of public buildings and private residences. Beyond architecture, he designed custom furniture for these spaces, combining teak, cane, and geometric forms to create pieces that were both functional and poetic, perfectly adapted to the local climate, daily life, and cultural practices. Each piece exemplified a dialogue between modernist principles and Indian craftsmanship, blending innovation with tradition.

In Chandigarh, Jeanneret’s work reflects a deep respect for the local context: he carefully observed climate, materials, and the customs of residents, using locally sourced teak and traditional techniques to craft furniture that was both durable and elegant. While often overshadowed by his famous cousin, Jeanneret played a decisive role in shaping Chandigarh’s built environment and interiors. As Walter Gropius noted, “I have always considered him one of the most reliable guides of contemporary architecture, full of talent and ideas of his own.” Today, his furniture and architectural legacy remain timeless icons of modern design, celebrated worldwide.