Guest Column | Chandigarh heritage furniture: Design, legacy & a story of allure

When Chandigarh was designed in the 1950s, it wasn’t merely a city being built; it was a vision. A modernist masterpiece conceived by Swiss-French architect Le Corbusier, the city was to be a beacon of progress.

While much is written about Chandigarh’s urban planning and architectural marvels, an equally fascinating story lies in its furniture. Yes, the chairs, tables and cabinets—those humble, utilitarian objects—have carved a niche for themselves in the world of design. But their journey is far from straightforward, blending international allure with an undercurrent of intrigue.

This intrigue was underscored recently when several heritage furniture pieces were stolen from the Sector 10 Government Art College. The theft highlighted the increasing vulnerability of these cultural artefacts, coveted by collectors and targeted by organised gangs.

A unique blend of design and purpose

Chandigarh’s heritage furniture was the brainchild of Le Corbusier and his cousin, Pierre Jeanneret, along with a team of skilled artisans. The designs were simple yet sophisticated, reflecting the modernist ethos of functionality fused with aesthetic clarity. Crafted primarily from teak and cane, the pieces were built to endure, serving public institutions such as government offices, libraries and colleges.

What sets these designs apart is their adaptability and minimalist appeal. A Jeanneret chair, for instance, is as much at home in a college library as it is in a Manhattan penthouse. The furniture’s clean lines, clever joinery and use of local materials give it a timeless quality. There’s a sense of rootedness in these designs—a reflection of India’s culture and craft—paired with an international modernist sensibility.

Int’l allure: From govt offices to global auctions

For decades, Chandigarh’s furniture quietly served its functional purpose, unnoticed beyond the city. Then came the global modernist wave, which brought an appetite for mid-century designs. By the early 2000s, collectors and auction houses in Europe and the United States had discovered the treasure trove lying in Chandigarh.

The rise of Chandigarh’s heritage furniture on the international stage was meteoric. Pieces that once gathered dust in obscure offices, now fetch jaw-dropping prices at prestigious auction houses. A pair of Pierre Jeanneret’s iconic chairs recently sold for over $50,000 each. The allure lies not just in their design but in the stories they carry—tales of a post-colonial India finding its voice, and the fusion of East and West in tangible form.

Even celebrities have embraced the charm of Chandigarh’s furniture. The Kardashians, known for their impeccable taste in luxury, are among those who have adorned their homes with Jeanneret pieces. Their choice highlights the universal appeal of these designs, transcending cultural and geographical boundaries.

The dark underbelly: Theft & the mafia

This global demand, however, has not been without consequences. In recent years, Chandigarh has witnessed a spate of thefts targeting its heritage furniture. Reports suggest the involvement of organised gangs—a so-called “furniture mafia”—that specialises in smuggling these pieces abroad. The modus operandi often involves bribing officials, forging documents, and even replacing originals with replicas. What’s particularly heartbreaking is the irony: these objects, designed for everyday use, have become too valuable for their intended purpose.

Preserving the legacy

So, where does that leave us? Chandigarh’s heritage furniture is not just a relic of the past; it’s a living testament to a vision of modernity that was deeply rooted in local context. While auction houses and collectors continue to celebrate these designs, there’s an urgent need to safeguard what remains.

Steps are being taken. The UT administration has implemented stricter policies, including cataloguing and marking heritage pieces. Institutions are being sensitised to the importance of these objects, not just as furniture but as artefacts of cultural significance.

Why it matters

At its heart, Chandigarh’s furniture tells a story of collaboration and innovation. It’s a reminder that design is not just about objects but about the lives they touch. The chairs and tables of Chandigarh have travelled far and wide, finding homes in galleries and luxury homes. Yet, their true home remains here, in the city they were designed for.

As citizens, architects and design enthusiasts, we owe it to this legacy to protect it. After all, it’s not just furniture we’re preserving—it’s a piece of history, a slice of identity and a testament to what design can achieve when it speaks the language of its time and place.

aashna.gakhar@gmail.com

(The writer is a Chandigarh-based architect & interior designer)