{"id":11120,"date":"2019-08-15T14:23:54","date_gmt":"2019-08-15T13:23:54","guid":{"rendered":"http:\/\/www.proantic.com\/magazine\/?p=11120"},"modified":"2019-08-19T07:41:51","modified_gmt":"2019-08-19T06:41:51","slug":"le-mobilier-darchitectes-1960-2020","status":"publish","type":"post","link":"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/","title":{"rendered":"Le Mobilier d&rsquo;architectes, 1960-2020"},"content":{"rendered":"<p>\u00c0 travers les cr\u00e9ations mobili\u00e8res des plus grands noms de l\u2019architecture de ces soixante derni\u00e8res ann\u00e9es, l\u2019exposition propose de d\u00e9couvrir comment les architectes s\u2019inscrivent dans les arts d\u00e9coratifs, par le design de meubles, objets et luminaires.<\/p>\n<p>Depuis 150 ans, les architectes dessinent du mobilier et des luminaires venant parachever leurs constructions. \u00c0 la diff\u00e9rence du mobilier de leurs pr\u00e9d\u00e9cesseurs de la S\u00e9cession viennoise, de l\u2019Art D\u00e9co, du Bauhaus ou du mouvement Moderne, le mobilier des architectes des ann\u00e9es 1960 \u00e0 nos jours a \u00e9t\u00e9 peu \u00e9tudi\u00e9 jusqu\u2019\u00e0 pr\u00e9sent.<\/p>\n<figure id=\"attachment_11128\" aria-describedby=\"caption-attachment-11128\" style=\"width: 800px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lop.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11128\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/lop-3\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lop.jpg?fit=800%2C457&amp;ssl=1\" data-orig-size=\"800,457\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Le Mobilier d&amp;rsquo;architectes, 1960-2020&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lop.jpg?fit=300%2C171&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lop.jpg?fit=665%2C380&amp;ssl=1\" class=\"size-full wp-image-11128\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lop.jpg?resize=665%2C380\" alt=\"\" width=\"665\" height=\"380\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lop.jpg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lop.jpg?resize=300%2C171&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lop.jpg?resize=768%2C439&amp;ssl=1 768w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lop.jpg?resize=180%2C103&amp;ssl=1 180w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><\/a><figcaption id=\"caption-attachment-11128\" class=\"wp-caption-text\">Le Mobilier d&rsquo;architectes, 1960-2020<\/figcaption><\/figure>\n<p>Pour la premi\u00e8re fois, une exposition se d\u00e9ploie dans l\u2019ensemble de la Cit\u00e9, dans les galeries des collections permanentes et jusqu\u2019\u00e0 la biblioth\u00e8que et offre une mise en dialogue avec les \u0153uvres du mus\u00e9e, r\u00e9v\u00e9lant ainsi la sp\u00e9cificit\u00e9 et l\u2019originalit\u00e9 du mobilier d\u2019architecte.<\/p>\n<p>Au travers de prototypes, pi\u00e8ces uniques, \u00e9ditions limit\u00e9es ou des grandes s\u00e9ries d\u00e9ploy\u00e9s dans l&rsquo;ensemble de la Cit\u00e9, l&rsquo;exposition invite les visiteurs \u00e0 d\u00e9couvrir la production mobili\u00e8re des architectes de 1960 \u00e0 nos jours.<\/p>\n<figure id=\"attachment_11129\" aria-describedby=\"caption-attachment-11129\" style=\"width: 720px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hyt.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11129\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/hyt\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hyt.jpg?fit=720%2C570&amp;ssl=1\" data-orig-size=\"720,570\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"hyt\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Le Mobilier d&amp;rsquo;architectes, 1960-2020&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hyt.jpg?fit=300%2C238&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hyt.jpg?fit=665%2C526&amp;ssl=1\" class=\"size-full wp-image-11129\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hyt.jpg?resize=665%2C526\" alt=\"\" width=\"665\" height=\"526\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hyt.jpg?w=720&amp;ssl=1 720w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hyt.jpg?resize=300%2C238&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hyt.jpg?resize=180%2C143&amp;ssl=1 180w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><\/a><figcaption id=\"caption-attachment-11129\" class=\"wp-caption-text\">Le Mobilier d&rsquo;architectes, 1960-2020<\/figcaption><\/figure>\n<p>Avec pr\u00e8s de 300 pi\u00e8ces, plus de 125 architectes repr\u00e9sent\u00e9s et pr\u00e8s de 90 \u00e9diteurs, elle est une invitation \u00e0 d\u00e9ambuler \u00e0 travers la Cit\u00e9 \u00e0 la d\u00e9couverte du mobilier des grandes figures et personnalit\u00e9s de l&rsquo;architecture de ces derni\u00e8res d\u00e9cennies : David Adjaye, Ron Arad, Shigeru Ban, David Chipperfield, Odile Decq, Charles &amp; Ray Eames, Norman Foster, Sou Fujimoto, Franck Gehry, Zaha Hadid, Marc Held, Steven Holl, Toyo Ito, Jakob + MacFarlane, Michele de Lucchi, Angelo Mangiarotti, Jean Nouvel, Verner Panton, Dominique Perrault, Gaetano Pesce, Rudy Ricciotti, Aldo Rossi, Sanaa, Superstudio, Carlo Scarpa, Ettore Sottsass&#8230;<\/p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"665\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/vFMlLos9-io?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=fr-FR&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<p><span style=\"color: #ff9900\">L\u2019 H\u00c9RITIER DE LA TRADITION<\/span><\/p>\n<p>Depuis plus de deux si\u00e8cles, les commanditaires ont inclus l\u2019ameublement dans la mission confi\u00e9e aux architectes, et ce dans nombre de pays. Bien des chefs-d\u2019\u0153uvre appartenant d\u00e9sormais \u00e0 l\u2019histoire de l\u2019architecture sont \u00e9galement connus, voire davantage, pour leur mobilier.<br \/>\nCertaines pi\u00e8ces jouent les vedettes en salles des ventes quand elles n\u2019entrent pas dans les mus\u00e9es. D\u2019autres se voient (r\u00e9)\u00e9dit\u00e9es et beaucoup\u2026 copi\u00e9es !<\/p>\n<figure id=\"attachment_11130\" aria-describedby=\"caption-attachment-11130\" style=\"width: 561px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/asze.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11130\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/asze-9\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/asze.jpg?fit=561%2C607&amp;ssl=1\" data-orig-size=\"561,607\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565878745&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Odile Decq, chauffeuse Unesco,&lt;br \/&gt;\n2000 \u00a9 Georges Fessy&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/asze.jpg?fit=277%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/asze.jpg?fit=561%2C607&amp;ssl=1\" class=\"size-full wp-image-11130\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/asze.jpg?resize=561%2C607\" alt=\"\" width=\"561\" height=\"607\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/asze.jpg?w=561&amp;ssl=1 561w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/asze.jpg?resize=277%2C300&amp;ssl=1 277w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/asze.jpg?resize=166%2C180&amp;ssl=1 166w\" sizes=\"auto, (max-width: 561px) 100vw, 561px\" \/><\/a><figcaption id=\"caption-attachment-11130\" class=\"wp-caption-text\">Odile Decq, chauffeuse Unesco,<br \/>2000 \u00a9 Georges Fessy<\/figcaption><\/figure>\n<p>Ce ne sont pourtant ni l\u2019app\u00e2t du gain ni le besoin de notori\u00e9t\u00e9 qui motivent encore de nos jours des architectes \u00e0 r\u00e9clamer une mission globale, mais l\u2019envie et le souci de parfaire le cadre de vie de leur client\u00e8le \u2013 qu\u2019elle soit publique, professionnelle ou priv\u00e9e \u2013 comme le faisaient leurs pr\u00e9d\u00e9cesseurs.<\/p>\n<p>Ce sur-mesure recourt pour sa fabrication aussi bien \u00e0 des entreprises artisanales qu\u2019aux services de recherche et d\u00e9veloppement de grands industriels en demande d\u2019id\u00e9es et de sang neuf qui stimulent leur cr\u00e9ativit\u00e9 technologique.<\/p>\n<figure id=\"attachment_11131\" aria-describedby=\"caption-attachment-11131\" style=\"width: 425px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ky.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11131\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/ky\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ky.jpg?fit=425%2C558&amp;ssl=1\" data-orig-size=\"425,558\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565878799&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt; Mario Botta, fauteuil Seconda, 1982,&lt;br \/&gt;\nAlias \u00a9 Aldo Ballo&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ky.jpg?fit=228%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ky.jpg?fit=425%2C558&amp;ssl=1\" class=\"size-full wp-image-11131\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ky.jpg?resize=425%2C558\" alt=\"\" width=\"425\" height=\"558\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ky.jpg?w=425&amp;ssl=1 425w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ky.jpg?resize=228%2C300&amp;ssl=1 228w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ky.jpg?resize=137%2C180&amp;ssl=1 137w\" sizes=\"auto, (max-width: 425px) 100vw, 425px\" \/><\/a><figcaption id=\"caption-attachment-11131\" class=\"wp-caption-text\">Mario Botta, fauteuil Seconda, 1982,<br \/>Alias \u00a9 Aldo Ballo<\/figcaption><\/figure>\n<p><span style=\"color: #ff6600\">LE DESIGNER PROFESSIONNEL<\/span><\/p>\n<p>Certains architectes se consacrent essentiellement \u00e0 la conception d\u2019objets, d\u00e9laissant pour un temps ou pour toujours l\u2019art de b\u00e2tir. En Italie,<br \/>\no\u00f9 la profession a largement concouru \u00e0 fa\u00e7onner le paysage du design, la situation est relativement courante.<\/p>\n<p>Dans les ann\u00e9es 1960, Joe Colombo en est l\u2019un des exemples les plus embl\u00e9matiques. En moins de dix ans et une production pl\u00e9thorique, inventive et parfois visionnaire, il con\u00e7oit quelques unes des cr\u00e9ations phares de l\u2019\u00e9poque \u2013 fauteuil Elda, Tube Chair, Bobby trolley<\/p>\n<figure id=\"attachment_11132\" aria-describedby=\"caption-attachment-11132\" style=\"width: 421px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqza.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11132\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/aqza\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqza.jpg?fit=421%2C489&amp;ssl=1\" data-orig-size=\"421,489\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565878817&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt; Humberto et Fernando Campana,&lt;br \/&gt;\nfauteuil Vermelha, 1993, Edra&lt;br \/&gt;\n\u00a9 Fernando &amp;amp; Humberto Campana\/&lt;br \/&gt;\nphoto : Centre Pompidou, MNAMCCI, Dist RMN-Grand Palais\/&lt;br \/&gt;\nGeorges Meguerditchian&lt;br \/&gt;\n\u00a9 Adagp, Paris, 2019&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqza.jpg?fit=258%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqza.jpg?fit=421%2C489&amp;ssl=1\" class=\"size-full wp-image-11132\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqza.jpg?resize=421%2C489\" alt=\"\" width=\"421\" height=\"489\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqza.jpg?w=421&amp;ssl=1 421w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqza.jpg?resize=258%2C300&amp;ssl=1 258w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqza.jpg?resize=155%2C180&amp;ssl=1 155w\" sizes=\"auto, (max-width: 421px) 100vw, 421px\" \/><\/a><figcaption id=\"caption-attachment-11132\" class=\"wp-caption-text\">Humberto et Fernando Campana,<br \/>fauteuil Vermelha, 1993, Edra<br \/>\u00a9 Fernando &amp; Humberto Campana\/<br \/>photo : Centre Pompidou, MNAMCCI, Dist RMN-Grand Palais\/<br \/>Georges Meguerditchian<br \/>\u00a9 Adagp, Paris, 2019<\/figcaption><\/figure>\n<p>Aujourd\u2019hui, Ferruccio Laviani conjugue, entre autres, la direction artistique de Kartell (depuis 1991) avec des projets pour de nombreuses marques.<br \/>\nAilleurs, en France dans les ann\u00e9es 1980, au Br\u00e9sil* \u00e0 la fin des ann\u00e9es 1990 ou encore au Japon* aux d\u00e9buts des ann\u00e9es 2000, des architectes acqui\u00e8rent leur notori\u00e9t\u00e9 gr\u00e2ce au style caract\u00e9ristique de leurs produits.<\/p>\n<p><span style=\"color: #ff6600\">L\u2019 \u00c9DITEUR DE DESIGN<\/span><\/p>\n<p>Plusieurs maisons d\u2019\u00e9dition \u2013 non des moindres \u2013 ont \u00e9t\u00e9 cr\u00e9\u00e9es ou reprises par des architectes, tous \u00e9pris de design mais aux parcours diff\u00e9rents. Pr\u00f4nant \u00ab le design en tant qu\u2019\u0153uvre d\u2019art total \u00bb, Alvar Aalto ouvre la voie en fondant avec son \u00e9pouse Artek d\u00e8s 1935.<\/p>\n<p>En 1949, Anna Castelli Ferrieri et son mari Giulio Castelli, ing\u00e9nieur chimiste, constituent Kartell, qui d\u00e9veloppera des produits en plastiques. Poursuivant l\u2019architecture, elle n\u2019y dessine son premier meuble qu\u2019en 1964. Promue en 1976 directrice artistique de l\u2019entreprise, elle en forge l\u2019identit\u00e9, toujours actuelle.<\/p>\n<figure id=\"attachment_11133\" aria-describedby=\"caption-attachment-11133\" style=\"width: 348px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqzl.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11133\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/aqzl\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqzl.jpg?fit=348%2C444&amp;ssl=1\" data-orig-size=\"348,444\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565878839&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt; Jean Nouvel, chauffeuse Milana, 1995,&lt;br \/&gt;\nSawaya &amp;amp; Moroni&lt;br \/&gt;\n\u00a9 sawaya &amp;amp; moroni, Milan, Italy&lt;br \/&gt;\n\u00a9 Adagp, Paris, 2019&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqzl.jpg?fit=235%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqzl.jpg?fit=348%2C444&amp;ssl=1\" class=\"size-full wp-image-11133\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqzl.jpg?resize=348%2C444\" alt=\"\" width=\"348\" height=\"444\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqzl.jpg?w=348&amp;ssl=1 348w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqzl.jpg?resize=235%2C300&amp;ssl=1 235w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqzl.jpg?resize=141%2C180&amp;ssl=1 141w\" sizes=\"auto, (max-width: 348px) 100vw, 348px\" \/><\/a><figcaption id=\"caption-attachment-11133\" class=\"wp-caption-text\">Jean Nouvel, chauffeuse Milana, 1995,<br \/>Sawaya &amp; Moroni<br \/>\u00a9 sawaya &amp; moroni, Milan, Italy<br \/>\u00a9 Adagp, Paris, 2019<\/figcaption><\/figure>\n<p>Fils d\u2019\u00e9b\u00e9niste, l\u2019architecte Osvaldo Borsani monte, en 1953, avec son fr\u00e8re jumeau Fulgenzio, la firme Tecno Spa afin de produire en s\u00e9rie son fauteuil P40 et son sofa D70 offrant une vingtaine de positions.<\/p>\n<p>En 1978, les architectes Paolo Rizzatto, Sandra Severi et Riccardo Sarfatti (le fils de Gino) fondent Luceplan aux luminaires sobres, l\u00e9gers et respectueux de l\u2019environnement. Architecte un an chez Gio Ponti, Giulio Cappellini int\u00e8gre en 1979 l\u2019usine de meubles de son p\u00e8re. D\u00e9couvreur de talents hors pair, il en fera l\u2019une des marques de design les plus cr\u00e9atives<\/p>\n<figure id=\"attachment_11134\" aria-describedby=\"caption-attachment-11134\" style=\"width: 324px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/am.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11134\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/am\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/am.jpg?fit=324%2C423&amp;ssl=1\" data-orig-size=\"324,423\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565878863&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt; Gio Ponti, lampe de table Fato, 1966,&lt;br \/&gt;\nArtemide \u00a9 Artemide&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/am.jpg?fit=230%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/am.jpg?fit=324%2C423&amp;ssl=1\" class=\"size-full wp-image-11134\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/am.jpg?resize=324%2C423\" alt=\"\" width=\"324\" height=\"423\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/am.jpg?w=324&amp;ssl=1 324w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/am.jpg?resize=230%2C300&amp;ssl=1 230w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/am.jpg?resize=138%2C180&amp;ssl=1 138w\" sizes=\"auto, (max-width: 324px) 100vw, 324px\" \/><\/a><figcaption id=\"caption-attachment-11134\" class=\"wp-caption-text\">Gio Ponti, lampe de table Fato, 1966,<br \/>Artemide \u00a9 Artemide<\/figcaption><\/figure>\n<p><strong>Sawaya &amp; Moroni<\/strong><\/p>\n<p>Quand ils se rencontrent \u00e0 Londres en 1976. William Sawaya est architecte \u00e0 Beyrouth et Paolo Moroni fait du commerce \u00e0 Milan apr\u00e8s des \u00e9tudes de philologie. Deux ans plus tard, ils cr\u00e9ent un studio d\u2019architecture dans la capitale lombarde qui est en train de devenir celle du design. S\u2019int\u00e9ressant de plus en plus \u00e0 l\u2019objet, ils s\u2019interrogent sur sa mutation en \u0153uvre d\u2019art initi\u00e9e par le dada\u00efsme, le Pop Art et l\u2019Arte Povera, mais aussi sur la valorisation des savoir-faire de l\u2019artisanat d\u2019art.<\/p>\n<figure id=\"attachment_11135\" aria-describedby=\"caption-attachment-11135\" style=\"width: 352px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lo.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11135\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/lo-3\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lo.jpg?fit=352%2C529&amp;ssl=1\" data-orig-size=\"352,529\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565878891&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt; Michele De Lucchi, avec&lt;br \/&gt;\nPhilippe Nigro, colonne de&lt;br \/&gt;\ntabourets Bisonte,&lt;br \/&gt;\ncollection Fuori dal Mondo, 2005,&lt;br \/&gt;\nProduzione Privata&lt;br \/&gt;\n\u00a9 Michele De Lucchi&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lo.jpg?fit=200%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lo.jpg?fit=352%2C529&amp;ssl=1\" class=\"size-full wp-image-11135\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lo.jpg?resize=352%2C529\" alt=\"\" width=\"352\" height=\"529\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lo.jpg?w=352&amp;ssl=1 352w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lo.jpg?resize=200%2C300&amp;ssl=1 200w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lo.jpg?resize=120%2C180&amp;ssl=1 120w\" sizes=\"auto, (max-width: 352px) 100vw, 352px\" \/><\/a><figcaption id=\"caption-attachment-11135\" class=\"wp-caption-text\">Michele De Lucchi, avec<br \/>Philippe Nigro, colonne de<br \/>tabourets Bisonte,<br \/>collection Fuori dal Mondo, 2005,<br \/>Produzione Privata<br \/>\u00a9 Michele De Lucchi<\/figcaption><\/figure>\n<p>Quatre ans apr\u00e8s un premier essai d\u2019\u00e9dition de la Sun chair et de la Spring table de Charles Jencks, ils fondent en 1984 leur maison d\u2019\u00e9dition. Leur premi\u00e8re collection compte des assises d\u2019un autre architecte post-moderne am\u00e9ricain Michael Graves, d\u2019Adolfo Natalini, ex-membre de Superstudio. La seconde fait appel \u00e0 l\u2019architecte japonais Kazuo Shinohara. Contrairement \u00e0 leurs confr\u00e8res, William Sawaya et Paolo Moroni font le choix de l\u2019\u0153uvre unique ou de la s\u00e9rie limit\u00e9e, command\u00e9e aux architectes, designers et artistes contemporains \u00ab qui les font vibrer \u00bb ind\u00e9pendamment des modes et du march\u00e9.<\/p>\n<p>C\u00f4t\u00e9 architectes, suivront Oswald Mathias Ungers (1989), Toni Cordero (1992), Jean Nouvel (1994), Jakob+MacFarlane (2003), Dominique Perrault (2004), Massimiliano Fuksas (2007), Daniel Libeskind (2010), Ma Song (2017) et Sn\u00f8hetta (2018).<\/p>\n<p>Mais leur plus belle aventure est celle nou\u00e9e d\u00e8s 2000 avec Zaha Hadid qui n\u2019a alors construit que le poste incendie du campus Vitra \u00e0 Weil-am Rhein. Ils d\u00e9veloppent une douzaine de ses pi\u00e8ces majeures.<\/p>\n<figure id=\"attachment_11136\" aria-describedby=\"caption-attachment-11136\" style=\"width: 345px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ju.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11136\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/ju\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ju.jpg?fit=345%2C545&amp;ssl=1\" data-orig-size=\"345,545\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565878913&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Ettore Sottsass, lampe Tahiti, 1981, Memphis&lt;br \/&gt;\n\u00a9 Mus\u00e9e Saint-Quentin-en-Yvelines&lt;br \/&gt;\n\u00a9 Adagp, Paris, 2019&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ju.jpg?fit=190%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ju.jpg?fit=345%2C545&amp;ssl=1\" class=\"size-full wp-image-11136\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ju.jpg?resize=345%2C545\" alt=\"\" width=\"345\" height=\"545\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ju.jpg?w=345&amp;ssl=1 345w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ju.jpg?resize=190%2C300&amp;ssl=1 190w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ju.jpg?resize=114%2C180&amp;ssl=1 114w\" sizes=\"auto, (max-width: 345px) 100vw, 345px\" \/><\/a><figcaption id=\"caption-attachment-11136\" class=\"wp-caption-text\">Ettore Sottsass, lampe Tahiti, 1981, Memphis<br \/>\u00a9 Mus\u00e9e Saint-Quentin-en-Yvelines<br \/>\u00a9 Adagp, Paris, 2019<\/figcaption><\/figure>\n<p><strong>Artemide<\/strong><\/p>\n<p>\u00c0 l\u2019\u00e2ge de vingt-neuf ans, Ernesto Gismondi \u2013 ing\u00e9nieur en a\u00e9ronautique \u2013 et Sergio Mazza \u2013 designer \u2013 fondent en 1960 Artemide. Sous l\u2019\u00e9gide d\u2019une des trois d\u00e9esses de la Lune, ils commencent \u00e0 \u00e9diter des luminaires dessin\u00e9s par Enzo Mari (Polluce), Gio Ponti (Fato) et Vico Magistretti, dont Eclisse qui leur vaut un Compasso d\u2019Oro en 1967.<\/p>\n<p>Tr\u00e8s vite, la firme va surfer sur la vague du progr\u00e8s technologique et des \u00e9volutions comportementales. Ainsi sera-t-elle la premi\u00e8re \u00e0 produire une lampe halog\u00e8ne (Tizio de Richard Sapper), puis LED (Sui et Kaio), \u00e0 d\u00e9velopper un secteur tertiaire (syst\u00e8me d\u2019\u00e9clairage architectural Aton Barra), \u00e0 explorer l\u2019interaction de la lumi\u00e8re sur l\u2019homme et son environnement.<\/p>\n<figure id=\"attachment_11137\" aria-describedby=\"caption-attachment-11137\" style=\"width: 335px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nh.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11137\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/nh\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nh.jpg?fit=335%2C483&amp;ssl=1\" data-orig-size=\"335,483\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565878936&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;. Eero Saarinen, fauteuil Tulip n\u00b0150, 1956-1957, Knoll&lt;br \/&gt;\n\u00a9 Knoll International&lt;br \/&gt;\n\u00a9 Museum Associates\/LACMA.&lt;br \/&gt;\nLicenci\u00e9e par Dist. RMN-Grand Palais\/image LACMA&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nh.jpg?fit=208%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nh.jpg?fit=335%2C483&amp;ssl=1\" class=\"size-full wp-image-11137\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nh.jpg?resize=335%2C483\" alt=\"\" width=\"335\" height=\"483\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nh.jpg?w=335&amp;ssl=1 335w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nh.jpg?resize=208%2C300&amp;ssl=1 208w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nh.jpg?resize=125%2C180&amp;ssl=1 125w\" sizes=\"auto, (max-width: 335px) 100vw, 335px\" \/><\/a><figcaption id=\"caption-attachment-11137\" class=\"wp-caption-text\">. Eero Saarinen, fauteuil Tulip n\u00b0150, 1956-1957, Knoll<br \/>\u00a9 Knoll International<br \/>\u00a9 Museum Associates\/LACMA.<br \/>Licenci\u00e9e par Dist. RMN-Grand Palais\/image LACMA<\/figcaption><\/figure>\n<p>Architecte, designer, graphiste et ancienne directrice artistique de Memphis et d\u2019Alias, Carlotta de Bevilacqua int\u00e8gre la soci\u00e9t\u00e9 au d\u00e9but des ann\u00e9es 1990. Elle va y approfondir ce qui va forger la philosophie de l\u2019entreprise sous le nom The Human Light. Bien au-del\u00e0 de la forme \u00ab dont l\u2019\u00e9volution est in\u00e9vitable pour int\u00e9grer les nouvelles technologies \u00bb, l\u2019\u00eatre et le bien-\u00eatre conditionnent d\u00e9sormais les produits d\u2019Artemide.<\/p>\n<p>Avec Spectral Light, l\u2019architecte suisse Philippe Rahm diss\u00e8que les spectres de la lumi\u00e8re artificielle pour n\u2019en retenir \u2013 \u00e0 la fa\u00e7on du pointillisme \u2013 que les longueurs d\u2019onde n\u00e9cessaires, perceptibles et b\u00e9n\u00e9fiques \u00e0 la vie humaine, animale et\/ou v\u00e9g\u00e9tale. Carlotta de Bevilacqua et Ernesto Gismondi vont souvent concevoir des luminaires \u00ab g\u00e9n\u00e9riques \u00bb exp\u00e9rimentant les innovations du moment que peuvent d\u00e8s lors se r\u00e9approprier des architectes \u2013 et non des moindres \u2013 pour cr\u00e9er des mod\u00e8les surmesure pour leurs chantiers. Nombre d\u2019entre eux entrent alors au catalogue (cons\u00e9quent) de la marque. Certains, telle la Tolomeo de Michele De Lucchi, sont devenus des best-sellers plan\u00e9taires !<\/p>\n<figure id=\"attachment_11138\" aria-describedby=\"caption-attachment-11138\" style=\"width: 408px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/er.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11138\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/er\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/er.jpg?fit=408%2C471&amp;ssl=1\" data-orig-size=\"408,471\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565878975&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Aldo Rossi, service Tea and Coffee Piazza, 1983, Alessi&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/er.jpg?fit=260%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/er.jpg?fit=408%2C471&amp;ssl=1\" class=\"size-full wp-image-11138\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/er.jpg?resize=408%2C471\" alt=\"\" width=\"408\" height=\"471\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/er.jpg?w=408&amp;ssl=1 408w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/er.jpg?resize=260%2C300&amp;ssl=1 260w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/er.jpg?resize=156%2C180&amp;ssl=1 156w\" sizes=\"auto, (max-width: 408px) 100vw, 408px\" \/><\/a><figcaption id=\"caption-attachment-11138\" class=\"wp-caption-text\">Aldo Rossi, service Tea and Coffee Piazza, 1983, Alessi<\/figcaption><\/figure>\n<p><strong>Produzione Privata<\/strong><\/p>\n<p>Produzione Privata est \u00ab le laboratoire exp\u00e9rimental \u00bb de l\u2019architecte et designer Michele De Lucchi.<br \/>\nDipl\u00f4m\u00e9 en architecture \u00e0 Florence en 1975, il est l\u2019un des acteurs du design radical, mouvement de remise en cause de l\u2019architecture moderne, avec le groupe Cavart. Il collabore avec le studio Alchimia, puis fait partie aupr\u00e8s d\u2019Ettore Sottsass des co-fondateurs de Memphis avant de cr\u00e9er son agence \u00e0 Milan en 1988.<\/p>\n<p>Fond\u00e9e en 1990, Produzione Privata est une petite entreprise d\u2019\u00e9dition qui permet \u00e0 Michele De Lucchi de concevoir et de mettre en \u0153uvre, selon des techniques artisanales, des objets exp\u00e9rimentaux, avec une libert\u00e9 d\u2019expression maximale.<\/p>\n<figure id=\"attachment_11139\" aria-describedby=\"caption-attachment-11139\" style=\"width: 370px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nt.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11139\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/nt\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nt.jpg?fit=370%2C538&amp;ssl=1\" data-orig-size=\"370,538\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565878997&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Verner Panton, Chaise Panton, 1999, Vitra&lt;br \/&gt;\nPolypropyl\u00e8ne teint\u00e9 mandarine \u00a9 Vitra&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nt.jpg?fit=206%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nt.jpg?fit=370%2C538&amp;ssl=1\" class=\"size-full wp-image-11139\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nt.jpg?resize=370%2C538\" alt=\"\" width=\"370\" height=\"538\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nt.jpg?w=370&amp;ssl=1 370w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nt.jpg?resize=206%2C300&amp;ssl=1 206w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nt.jpg?resize=124%2C180&amp;ssl=1 124w\" sizes=\"auto, (max-width: 370px) 100vw, 370px\" \/><\/a><figcaption id=\"caption-attachment-11139\" class=\"wp-caption-text\">Verner Panton, Chaise Panton, 1999, Vitra<br \/>Polypropyl\u00e8ne teint\u00e9 mandarine \u00a9 Vitra<\/figcaption><\/figure>\n<p>Elle se compose de sept ateliers d\u00e9di\u00e9s \u00e0 un mat\u00e9riau \u2013 verre, bois, m\u00e9tal, marbre, c\u00e9ramique et porcelaine \u2013 ou \u00e0 un concept de design \u2013 readymade et machines minimales. L\u2019id\u00e9e de readymade renvoie, dans le domaine sp\u00e9cifique du design, \u00e0 certaines pi\u00e8ces con\u00e7ues par Achille et Pier Giacomo Castiglioni tels le tabouret Sella ou le lampadaire Toio. Mais l\u00e0 o\u00f9 les fr\u00e8res Castiglioni trouvent une occasion de glisser de l\u2019humour dans un projet, De Lucchi affronte la question avec des accents plus th\u00e9oriques et conceptuels. \u00ab C\u2019est une d\u00e9claration selon laquelle le design n\u2019invente aujourd\u2019hui rien de nouveau, mais assemble des pi\u00e8ces et des composants d\u00e9j\u00e0 existants. \u00bb<\/p>\n<figure id=\"attachment_11140\" aria-describedby=\"caption-attachment-11140\" style=\"width: 549px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aser.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11140\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/aser-16\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aser.jpg?fit=549%2C344&amp;ssl=1\" data-orig-size=\"549,344\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565879030&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt; Archizoom Associati,&lt;br \/&gt;\nsofa Superonda, 1967, Poltronova&lt;br \/&gt;\n\u00a9 Archizoom Associati.&lt;br \/&gt;\n\u00a9 Andrea Branzi, ADAGP, Paris&lt;br \/&gt;\n2019. Ph \u00a9 Pietro Savorelli\/&lt;br \/&gt;\nCourtesy Centro Studi Poltronova&lt;br \/&gt;\nArchive&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aser.jpg?fit=300%2C188&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aser.jpg?fit=549%2C344&amp;ssl=1\" class=\"size-full wp-image-11140\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aser.jpg?resize=549%2C344\" alt=\"\" width=\"549\" height=\"344\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aser.jpg?w=549&amp;ssl=1 549w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aser.jpg?resize=300%2C188&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aser.jpg?resize=180%2C113&amp;ssl=1 180w\" sizes=\"auto, (max-width: 549px) 100vw, 549px\" \/><\/a><figcaption id=\"caption-attachment-11140\" class=\"wp-caption-text\">Archizoom Associati,<br \/>sofa Superonda, 1967, Poltronova<br \/>\u00a9 Archizoom Associati.<br \/>\u00a9 Andrea Branzi, ADAGP, Paris<br \/>2019. Ph \u00a9 Pietro Savorelli\/<br \/>Courtesy Centro Studi Poltronova<br \/>Archive<\/figcaption><\/figure>\n<p>Le second concept, celui de machines minimales, a guid\u00e9 et continue de guider une grande partie du travail de Michele De Lucchi. Il ne s\u2019agit pas d\u2019une r\u00e9f\u00e9rence \u00e0 une technique sp\u00e9cifique mais \u00e0 un moyen d\u2019aborder un projet en termes m\u00e9caniques. Le plus connu en la mati\u00e8re est la lampe Tolomeo produite par Artemide.<\/p>\n<p>\u00ab Je crois que la condition id\u00e9ale est de \u201ccr\u00e9er\u201d et \u201cproduire\u201d simultan\u00e9ment et je le r\u00e9alise aujourd\u2019hui, avec l\u2019aide d\u2019artisans italiens de talent, transformant mon bureau en une sorte d\u2019atelier d\u2019artiste de la Renaissance. \u00bb<\/p>\n<figure id=\"attachment_11141\" aria-describedby=\"caption-attachment-11141\" style=\"width: 411px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kty.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11141\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/kty\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kty.jpg?fit=411%2C306&amp;ssl=1\" data-orig-size=\"411,306\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565879052&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt; Alessandro Mendini,&lt;br \/&gt;\nbanquette Kandissi, 1980, Alchimia&lt;br \/&gt;\n\u00a9 photo : Design Museum Gent&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kty.jpg?fit=300%2C223&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kty.jpg?fit=411%2C306&amp;ssl=1\" class=\"size-full wp-image-11141\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kty.jpg?resize=411%2C306\" alt=\"\" width=\"411\" height=\"306\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kty.jpg?w=411&amp;ssl=1 411w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kty.jpg?resize=300%2C223&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kty.jpg?resize=180%2C134&amp;ssl=1 180w\" sizes=\"auto, (max-width: 411px) 100vw, 411px\" \/><\/a><figcaption id=\"caption-attachment-11141\" class=\"wp-caption-text\">Alessandro Mendini,<br \/>banquette Kandissi, 1980, Alchimia<br \/>\u00a9 photo : Design Museum Gent<\/figcaption><\/figure>\n<p><strong>Memphis<\/strong><\/p>\n<p>Avant d\u2019\u00eatre une entreprise commerciale, une marque, Memphis est un groupe de jeunes architectes et designers r\u00e9unis autour d\u2019Ettore Sottsass. Il partage avec le mouvement radical italien des ann\u00e9es 1960-1970 une attitude critique envers l\u2019id\u00e9ologie moderniste et l\u2019industrie. Mais il souhaite passer du prototype exp\u00e9rimental, telles les collections Bau-Haus Part One (1979) et BauHaus Part Two (1980) du studio Alchimia, au produit fini, commercialisable, c\u2019est-\u00e0-dire \u00e0 une r\u00e9elle alternative \u00e0 la production standard.<\/p>\n<p>Tout a commenc\u00e9 dans l\u2019appartement d\u2019Ettore Sottsass un soir de d\u00e9cembre 1980 avec les architectes Martine Bedin, Aldo Cibic, Michele De Lucchi et Marco Zanini, et son \u00e9pouse, la critique Barbara Radice. Avec les designers George Sowden et Nathalie Du Pasquier \u2013 absents ce soir-l\u00e0 \u2013, ils fondent Memphis.<\/p>\n<figure id=\"attachment_11142\" aria-describedby=\"caption-attachment-11142\" style=\"width: 438px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/masze.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11142\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/masze\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/masze.jpg?fit=438%2C546&amp;ssl=1\" data-orig-size=\"438,546\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565879072&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt; Frank Gehry, fauteuil Power Play, 1992, Knoll&lt;br \/&gt;\n\u00a9 Knoll International&lt;br \/&gt;\n\u00a9 Frank O. Gehry\/Cnap&lt;br \/&gt;\nCr\u00e9dit photo : Bruno Scotti&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/masze.jpg?fit=241%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/masze.jpg?fit=438%2C546&amp;ssl=1\" class=\"size-full wp-image-11142\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/masze.jpg?resize=438%2C546\" alt=\"\" width=\"438\" height=\"546\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/masze.jpg?w=438&amp;ssl=1 438w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/masze.jpg?resize=241%2C300&amp;ssl=1 241w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/masze.jpg?resize=144%2C180&amp;ssl=1 144w\" sizes=\"auto, (max-width: 438px) 100vw, 438px\" \/><\/a><figcaption id=\"caption-attachment-11142\" class=\"wp-caption-text\">Frank Gehry, fauteuil Power Play, 1992, Knoll<br \/>\u00a9 Knoll International<br \/>\u00a9 Frank O. Gehry\/Cnap<br \/>Cr\u00e9dit photo : Bruno Scotti<\/figcaption><\/figure>\n<p>Un d\u00e9sir commun les anime : renouveler le langage du design pour cr\u00e9er de nouveaux objets domestiques expressifs capables de jouer un r\u00f4le affectif aupr\u00e8s de leurs utilisateurs, celui de \u00ab compagnons de voyage \u00bb.<\/p>\n<p>Sottsass invite \u00e9galement des cr\u00e9ateurs \u00e9trangers, dont les architectes Michael Graves, Hans Hollein et Arata Isozaki. L\u2019aventure d\u00e9marre avec l\u2019aide b\u00e9n\u00e9vole des amis, l\u2019\u00e9b\u00e9niste Renzo Brugola, Mario et Brunella Godani, animateurs du showroom de mobilier Arc 74. Face \u00e0 l\u2019ampleur que prend le projet, Ernesto Gismondi \u2013 propri\u00e9taire de la soci\u00e9t\u00e9 de luminaire Artemide \u2013 finance la production.<\/p>\n<figure id=\"attachment_11143\" aria-describedby=\"caption-attachment-11143\" style=\"width: 380px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/szr.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11143\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/szr\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/szr.jpg?fit=380%2C349&amp;ssl=1\" data-orig-size=\"380,349\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565879093&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt; Ron Arad, \u00e9tag\u00e8re Bookworm 8003, 1993, Kartell&lt;br \/&gt;\n\u00a9 courtesy Kartell Museo Archive&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/szr.jpg?fit=300%2C276&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/szr.jpg?fit=380%2C349&amp;ssl=1\" class=\"size-full wp-image-11143\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/szr.jpg?resize=380%2C349\" alt=\"\" width=\"380\" height=\"349\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/szr.jpg?w=380&amp;ssl=1 380w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/szr.jpg?resize=300%2C276&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/szr.jpg?resize=180%2C165&amp;ssl=1 180w\" sizes=\"auto, (max-width: 380px) 100vw, 380px\" \/><\/a><figcaption id=\"caption-attachment-11143\" class=\"wp-caption-text\">Ron Arad, \u00e9tag\u00e8re Bookworm 8003, 1993, Kartell<br \/>\u00a9 courtesy Kartell Museo Archive<\/figcaption><\/figure>\n<p>Le 18 septembre 1981, en plein Salon du meuble de Milan, les cinquante-quatre pi\u00e8ces de Memphis pr\u00e9sent\u00e9es \u00e0 Arc 74 provoquent une onde de choc. La couleur, le motif et un mat\u00e9riau jusque-l\u00e0 confin\u00e9 \u00e0 la cuisine et \u00e0 la salle de bains \u2013 le stratifi\u00e9 \u2013 s\u2019engouffrent dans les salons bourgeois. \u00ab Memphis a rompu une digue et l\u2019eau se d\u00e9verse \u00e0 flot \u00bb, constate Sottsass en 1982. \u00ab Un nouveau style international \u00bb est n\u00e9.<\/p>\n<figure id=\"attachment_11144\" aria-describedby=\"caption-attachment-11144\" style=\"width: 595px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqse.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11144\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/aqse-2\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqse.jpg?fit=595%2C545&amp;ssl=1\" data-orig-size=\"595,545\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565879117&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;. Isabelle Serre, chaise longue, 1983&lt;br \/&gt;\navec l\u2019aimable autorisation du Mobilier&lt;br \/&gt;\nnational \u00a9 Collection du Mobilier&lt;br \/&gt;\nnational\/photo : Isabelle Bideau&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqse.jpg?fit=300%2C275&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqse.jpg?fit=595%2C545&amp;ssl=1\" class=\"size-full wp-image-11144\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqse.jpg?resize=595%2C545\" alt=\"\" width=\"595\" height=\"545\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqse.jpg?w=595&amp;ssl=1 595w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqse.jpg?resize=300%2C275&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqse.jpg?resize=180%2C165&amp;ssl=1 180w\" sizes=\"auto, (max-width: 595px) 100vw, 595px\" \/><\/a><figcaption id=\"caption-attachment-11144\" class=\"wp-caption-text\">. Isabelle Serre, chaise longue, 1983<br \/>avec l\u2019aimable autorisation du Mobilier<br \/>national \u00a9 Collection du Mobilier<br \/>national\/photo : Isabelle Bideau<\/figcaption><\/figure>\n<p><strong>Knoll<\/strong><\/p>\n<p>N\u00e9e Schust et orpheline \u00e0 12 ans, Florence Knoll est plac\u00e9e en pension dans l\u2019\u00e9cole pour jeunes filles construite \u00e0 Bloomfield Hills (Michigan) par Eliel Saarinen. Appr\u00e9ciant son architecture, elle le rencontre et devient amie avec son fils Eero. Cette famille d\u2019adoption lui fait d\u00e9couvrir l\u2019Europe. \u00c9tudiante en architecture \u00e0 la Cranbrook Academy que dirige Eliel Saarinen et o\u00f9 enseigne Charles Eames, elle y c\u00f4toie Harry Bertoia. Poursuivant ses \u00e9tudes \u00e0 Columbia, Londres et Chicago, sa route croise celles de Mies van der Rohe, Gropius, Breuer et Alvar Aalto.<\/p>\n<figure id=\"attachment_11145\" aria-describedby=\"caption-attachment-11145\" style=\"width: 400px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qa.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11145\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/qa\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qa.jpg?fit=400%2C472&amp;ssl=1\" data-orig-size=\"400,472\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565879145&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Gaetano Pesce, chaise Dalila, 1980&lt;br \/&gt;\n\u00a9 Courtesy of Gaetano Pesce\u2019s office&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qa.jpg?fit=254%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qa.jpg?fit=400%2C472&amp;ssl=1\" class=\"size-full wp-image-11145\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qa.jpg?resize=400%2C472\" alt=\"\" width=\"400\" height=\"472\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qa.jpg?w=400&amp;ssl=1 400w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qa.jpg?resize=254%2C300&amp;ssl=1 254w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qa.jpg?resize=153%2C180&amp;ssl=1 153w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><\/a><figcaption id=\"caption-attachment-11145\" class=\"wp-caption-text\">Gaetano Pesce, chaise Dalila, 1980<br \/>\u00a9 Courtesy of Gaetano Pesce\u2019s office<\/figcaption><\/figure>\n<p>Install\u00e9e \u00e0 New York en 1941, elle est embauch\u00e9e comme architecte d\u2019int\u00e9rieur par Hans Knoll \u2013 un des fils de Walter Knoll, important industriel du meuble allemand \u2013 qui a cr\u00e9\u00e9 son entreprise am\u00e9ricaine 3 ans plus t\u00f4t. Se compl\u00e9mentant \u00e0 merveille, ils se marient en 1946. D\u00e9sormais associ\u00e9e, Florence cr\u00e9e la Knoll Planning Unit sp\u00e9cialis\u00e9e dans le space-planning (agencement de bureaux). Elle milite pour que le mobilier moderne compl\u00e8te l\u2019espace architectural sans jamais lui faire concurrence. &#8230;<\/p>\n<figure id=\"attachment_11146\" aria-describedby=\"caption-attachment-11146\" style=\"width: 379px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqmp.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11146\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/aqmp-2\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqmp.jpg?fit=379%2C471&amp;ssl=1\" data-orig-size=\"379,471\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565879168&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt; Franco Albini, biblioth\u00e8que&lt;br \/&gt;\nVeliero, 1940\/2011, Cassina&lt;br \/&gt;\n\u00a9 Cassina&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqmp.jpg?fit=241%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqmp.jpg?fit=379%2C471&amp;ssl=1\" class=\"size-full wp-image-11146\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqmp.jpg?resize=379%2C471\" alt=\"\" width=\"379\" height=\"471\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqmp.jpg?w=379&amp;ssl=1 379w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqmp.jpg?resize=241%2C300&amp;ssl=1 241w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqmp.jpg?resize=145%2C180&amp;ssl=1 145w\" sizes=\"auto, (max-width: 379px) 100vw, 379px\" \/><\/a><figcaption id=\"caption-attachment-11146\" class=\"wp-caption-text\">Franco Albini, biblioth\u00e8que<br \/>Veliero, 1940\/2011, Cassina<br \/>\u00a9 Cassina<\/figcaption><\/figure>\n<p>&#8230; Se d\u00e9marquant par leur design exclusif, plusieurs pi\u00e8ces ont su anticiper l\u2019\u00e9volution des modes de vie. Elle invite alors ses amis \u00e0 concevoir pour Knoll des meubles \u00e0 la modernit\u00e9 intemporelle. D\u00e8s 1948, voient le jour le fauteuil Womb d\u2019Eero Saarinen et la collection Barcelona (1929) dont son mentor Mies van der Rohe vient de lui c\u00e9der les droits exclusifs. Suit la s\u00e9rie Wire chair d\u2019Harry Bertoia.<\/p>\n<p>Veuve en 1955 et d\u00e9sormais chef de l\u2019entreprise, elle lance le d\u00e9fi \u00e0 Eero Saarinen de concevoir la premi\u00e8re assise \u00e0 un seul pied. Sortie en 1957, la chaise Tulip (collection Pedestal) est devenue une ic\u00f4ne du design. \u00c0 son d\u00e9part 13 ans plus tard, le rayonnement de Knoll \u00e0 l\u2019international est assur\u00e9.<\/p>\n<figure id=\"attachment_11147\" aria-describedby=\"caption-attachment-11147\" style=\"width: 455px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amp.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11147\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/amp-2\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amp.jpg?fit=455%2C379&amp;ssl=1\" data-orig-size=\"455,379\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565879189&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;David Adjaye, chaises Washington&lt;br \/&gt;\nSkeleton et Washington Skin, 2013,&lt;br \/&gt;\nKnoll \u00a9 Knoll International&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amp.jpg?fit=300%2C250&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amp.jpg?fit=455%2C379&amp;ssl=1\" class=\"size-full wp-image-11147\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amp.jpg?resize=455%2C379\" alt=\"\" width=\"455\" height=\"379\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amp.jpg?w=455&amp;ssl=1 455w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amp.jpg?resize=300%2C250&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amp.jpg?resize=180%2C150&amp;ssl=1 180w\" sizes=\"auto, (max-width: 455px) 100vw, 455px\" \/><\/a><figcaption id=\"caption-attachment-11147\" class=\"wp-caption-text\">David Adjaye, chaises Washington<br \/>Skeleton et Washington Skin, 2013,<br \/>Knoll \u00a9 Knoll International<\/figcaption><\/figure>\n<p><strong>Alessi<\/strong><\/p>\n<p>Tourneur sur m\u00e9taux, Giovanni Alessi fonde la firme de m\u00e9tallurgie Alessi en 1921 \u00e0 Omegna, dans le Pi\u00e9mont, sp\u00e9cialis\u00e9e dans les arts de la table. D\u00e8s 1935, son fils Carlo dessine l\u2019ensemble des produits, dont le fameux service \u00e0 th\u00e9 et \u00e0 caf\u00e9 Bomb\u00e9. En 1945, son fr\u00e8re Ettore prend la direction technique de l\u2019usine, y d\u00e9veloppant tr\u00e8s vite l\u2019inox. En 1955, trois jeunes architectes, Carlo Mazzeri, Luigi Massoni et Anselmo Vitale, en charge du design, diversifient la production vers les collectivit\u00e9s, l\u2019h\u00f4tellerie et les compagnies a\u00e9riennes.<\/p>\n<figure id=\"attachment_11148\" aria-describedby=\"caption-attachment-11148\" style=\"width: 549px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kts.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11148\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/kts\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kts.jpg?fit=549%2C310&amp;ssl=1\" data-orig-size=\"549,310\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565879251&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt; Thomas Heatherwick,&lt;br \/&gt;\nBillet 1, Extrusion 1, 2009&lt;br \/&gt;\n\u00a9 Peter Mallet Photography&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kts.jpg?fit=300%2C169&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kts.jpg?fit=549%2C310&amp;ssl=1\" class=\"size-full wp-image-11148\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kts.jpg?resize=549%2C310\" alt=\"\" width=\"549\" height=\"310\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kts.jpg?w=549&amp;ssl=1 549w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kts.jpg?resize=300%2C169&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kts.jpg?resize=180%2C102&amp;ssl=1 180w\" sizes=\"auto, (max-width: 549px) 100vw, 549px\" \/><\/a><figcaption id=\"caption-attachment-11148\" class=\"wp-caption-text\">Thomas Heatherwick,<br \/>Billet 1, Extrusion 1, 2009<br \/>\u00a9 Peter Mallet Photography<\/figcaption><\/figure>\n<p>\u00c0 son arriv\u00e9e en 1970, Alberto Alessi se voit confier par son p\u00e8re Carlo les nouveaux projets. Son manifeste \u00ab L\u2019art multipli\u00e9 \u00bb pr\u00e9conise \u00ab une nouvelle civilisation commerciale susceptible d\u2019offrir aux consommateurs des objets d\u2019art \u00e0 des prix abordables \u00bb. Mais c\u2019est un \u00e9chec. Les architectes Franco Sargiani et Eija Helander, qui agrandissent l\u2019usine et dessinent logo, stands et produits, pr\u00e9sentent en 1972 Ettore Sottsass \u00e0 Alberto Alessi. Ce dernier va d\u00e8s lors pouvoir amorcer son grand \u0153uvre, d\u00e9mocratiser l\u2019architecture, via le design. Cette initiative sera un formidable stimulateur de recherche et d\u2019innovation techniques.<\/p>\n<figure id=\"attachment_11149\" aria-describedby=\"caption-attachment-11149\" style=\"width: 362px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/jktr.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11149\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/jktr\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/jktr.jpg?fit=362%2C461&amp;ssl=1\" data-orig-size=\"362,461\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565879277&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;MAL \u2013 Daniel Widrig et Guan Lee,&lt;br \/&gt;\nchaise Ecoire, 2017&lt;br \/&gt;\n\u00a9 MAL-Daniel Widrig and Guan Lee&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/jktr.jpg?fit=236%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/jktr.jpg?fit=362%2C461&amp;ssl=1\" class=\"size-full wp-image-11149\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/jktr.jpg?resize=362%2C461\" alt=\"\" width=\"362\" height=\"461\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/jktr.jpg?w=362&amp;ssl=1 362w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/jktr.jpg?resize=236%2C300&amp;ssl=1 236w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/jktr.jpg?resize=141%2C180&amp;ssl=1 141w\" sizes=\"auto, (max-width: 362px) 100vw, 362px\" \/><\/a><figcaption id=\"caption-attachment-11149\" class=\"wp-caption-text\">MAL \u2013 Daniel Widrig et Guan Lee,<br \/>chaise Ecoire, 2017<br \/>\u00a9 MAL-Daniel Widrig and Guan Lee<\/figcaption><\/figure>\n<p>La collaboration avec Alessandro Mendini d\u00e8s 1977 rappelle celle de AEG avec Peter Behrens : consultant, design manager, architecte et designer. Son id\u00e9e de confronter onze architectes \u00ab purs \u00bb \u00e0 un classique de la marque, le service \u00e0 caf\u00e9 et \u00e0 th\u00e9, aboutit en 1983 aux Tea &amp; Coffee Piazza, r\u00e9alis\u00e9s en argent \u00e0 quatre-vingt dix-neuf exemplaires. Ce brillant aper\u00e7u architectural du passage du modernisme au postmodernisme est un succ\u00e8s. En 2003, les vingt Tea &amp; Coffee Towers r\u00e9cidivent, mais dans le registre de l\u2019architecture digitale et de l\u2019hybridation de mat\u00e9riaux innovants (titane, bois pr\u00e9cieux, laque et\/ou c\u00e9ramique).<\/p>\n<figure id=\"attachment_11150\" aria-describedby=\"caption-attachment-11150\" style=\"width: 347px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/dert.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11150\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/dert\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/dert.jpg?fit=347%2C254&amp;ssl=1\" data-orig-size=\"347,254\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565879496&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Livio Castiglioni &amp;amp; Gianfranco&lt;br \/&gt;\nFrattini, lampe Boalum, 1969,&lt;br \/&gt;\nArtemide&lt;br \/&gt;\n\u00a9 Artemide &amp;#8211; Federico Villa&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/dert.jpg?fit=300%2C220&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/dert.jpg?fit=347%2C254&amp;ssl=1\" class=\"size-full wp-image-11150\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/dert.jpg?resize=347%2C254\" alt=\"\" width=\"347\" height=\"254\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/dert.jpg?w=347&amp;ssl=1 347w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/dert.jpg?resize=300%2C220&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/dert.jpg?resize=180%2C132&amp;ssl=1 180w\" sizes=\"auto, (max-width: 347px) 100vw, 347px\" \/><\/a><figcaption id=\"caption-attachment-11150\" class=\"wp-caption-text\">Livio Castiglioni &amp; Gianfranco<br \/>Frattini, lampe Boalum, 1969,<br \/>Artemide<br \/>\u00a9 Artemide &#8211; Federico Villa<\/figcaption><\/figure>\n<p><strong>Vitra<\/strong><\/p>\n<p>Ayant repris en 1934 une entreprise d\u2019am\u00e9nagement de magasins b\u00e2loise, Willi et Erika Fehlbaum cr\u00e9ent Vitra en 1950. Lors d\u2019un voyage \u00e0 New York, ils \u00ab flashent \u00bb sur un si\u00e8ge \u00e0 coque en r\u00e9sine moul\u00e9e de Charles et Ray Eames. En 1957, Vitra obtient de son fabricant Herman Miller la production sous licence exclusive en Europe du mobilier du couple am\u00e9ricain et de George Nelson. Faisant office d\u2019interpr\u00e8te de son p\u00e8re, Rolf Fehlbaum rencontre \u00e0 dix-neuf ans, aux \u00c9tats-Unis, en 1960, les Eames, Nelson et Alexander Girard.<\/p>\n<figure id=\"attachment_11151\" aria-describedby=\"caption-attachment-11151\" style=\"width: 369px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qmpe.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11151\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/qmpe\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qmpe.jpg?fit=369%2C446&amp;ssl=1\" data-orig-size=\"369,446\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565879309&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt; Sylvain Dubuisson,&lt;br \/&gt;\nfauteuil pour le minist\u00e8re&lt;br \/&gt;\nde la Culture, 1990&lt;br \/&gt;\nAvec l\u2019aimable autorisation du&lt;br \/&gt;\nMobilier national&lt;br \/&gt;\n\u00a9 Collection du Mobilier national\/&lt;br \/&gt;\nphoto : Isabelle Bideau&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qmpe.jpg?fit=248%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qmpe.jpg?fit=369%2C446&amp;ssl=1\" class=\"size-full wp-image-11151\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qmpe.jpg?resize=369%2C446\" alt=\"\" width=\"369\" height=\"446\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qmpe.jpg?w=369&amp;ssl=1 369w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qmpe.jpg?resize=248%2C300&amp;ssl=1 248w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qmpe.jpg?resize=149%2C180&amp;ssl=1 149w\" sizes=\"auto, (max-width: 369px) 100vw, 369px\" \/><\/a><figcaption id=\"caption-attachment-11151\" class=\"wp-caption-text\">Sylvain Dubuisson,<br \/>fauteuil pour le minist\u00e8re<br \/>de la Culture, 1990<br \/>Avec l\u2019aimable autorisation du<br \/>Mobilier national<br \/>\u00a9 Collection du Mobilier national\/<br \/>photo : Isabelle Bideau<\/figcaption><\/figure>\n<p>L\u2019entreprise familiale a bien prosp\u00e9r\u00e9 quand Rolf succ\u00e8de \u00e0 son p\u00e8re en 1977, qui depuis dix ans \u00e9dite la Panton Chair. Admirateur d\u2019Adriano Olivetti \u2013 inventeur du design management et ayant su s\u2019entourer d\u2019architectes \u2013, il devient un patron \u00e0 l\u2019esprit novateur et visionnaire.<br \/>\nIl vient de commencer sa collection de chaises (de 1850 \u00e0 nos jours) quand l\u2019usine de Weil am Rhein est d\u00e9vast\u00e9e en 1981 par un incendie. Il fait alors appel \u00e0 Nicholas Grimshaw pour reb\u00e2tir la premi\u00e8re nouvelle usine qui amorce un campus o\u00f9, notamment, Frank Gehry et Tadao Ando construiront leur premier b\u00e2timent \u00e0 l\u2019\u00e9tranger et Zaha Hadid sa premi\u00e8re r\u00e9alisation.<\/p>\n<figure id=\"attachment_11152\" aria-describedby=\"caption-attachment-11152\" style=\"width: 380px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/smlp.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11152\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/smlp\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/smlp.jpg?fit=380%2C387&amp;ssl=1\" data-orig-size=\"380,387\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565879343&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt; Paulo Mendas da Rocha, fauteuil Paulistano, 1957, Objekto&lt;br \/&gt;\n\u00a9 Objekto&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/smlp.jpg?fit=295%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/smlp.jpg?fit=380%2C387&amp;ssl=1\" class=\"size-full wp-image-11152\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/smlp.jpg?resize=380%2C387\" alt=\"\" width=\"380\" height=\"387\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/smlp.jpg?w=380&amp;ssl=1 380w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/smlp.jpg?resize=295%2C300&amp;ssl=1 295w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/smlp.jpg?resize=177%2C180&amp;ssl=1 177w\" sizes=\"auto, (max-width: 380px) 100vw, 380px\" \/><\/a><figcaption id=\"caption-attachment-11152\" class=\"wp-caption-text\">Paulo Mendas da Rocha, fauteuil Paulistano, 1957, Objekto<br \/>\u00a9 Objekto<\/figcaption><\/figure>\n<p>Connu jusqu\u2019alors comme fabricant de meubles de bureau, Rolf Fehlbaum souhaite prospecter le champ de la cr\u00e9ation exp\u00e9rimentale de mobilier en initiant Vitra Edition. Architectes et designers sont invit\u00e9s \u00e0 explorer librement \u2013 hors imp\u00e9ratifs mat\u00e9riels de commercialisation \u2013 de nouvelles typologies et technologies au sein de l\u2019entreprise.<\/p>\n<p>En 1987, une dizaine de prototypes d\u2019assises sont pr\u00e9sent\u00e9s \u00e0 la Documenta de Kassel et au mus\u00e9e Rath de Gen\u00e8ve. Certains seront produits en s\u00e9rie plus ou moins limit\u00e9e. Vingt ans plus tard, la seconde Vitra Edition \u00e9largit l\u2019exp\u00e9rience \u00e0 l\u2019ensemble du mobilier.<\/p>\n<figure id=\"attachment_11153\" aria-describedby=\"caption-attachment-11153\" style=\"width: 377px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lmp.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11153\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/lmp\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lmp.jpg?fit=377%2C275&amp;ssl=1\" data-orig-size=\"377,275\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565879361&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;9. Lina Bo Bardi, Marcelo Ferraz et Marcelo Suzuki,&lt;br \/&gt;\nGirafa Chair, Marcenaria Bara\u00fana 1987&lt;br \/&gt;\n\u00a9 Lina Bo Bardi, Marcelo Ferraz et Marcelo Suzuki \u00a9 Bara\u00fana&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lmp.jpg?fit=300%2C219&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lmp.jpg?fit=377%2C275&amp;ssl=1\" class=\"size-full wp-image-11153\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lmp.jpg?resize=377%2C275\" alt=\"\" width=\"377\" height=\"275\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lmp.jpg?w=377&amp;ssl=1 377w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lmp.jpg?resize=300%2C219&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/lmp.jpg?resize=180%2C131&amp;ssl=1 180w\" sizes=\"auto, (max-width: 377px) 100vw, 377px\" \/><\/a><figcaption id=\"caption-attachment-11153\" class=\"wp-caption-text\">9. Lina Bo Bardi, Marcelo Ferraz et Marcelo Suzuki,<br \/>Girafa Chair, Marcenaria Bara\u00fana 1987<br \/>\u00a9 Lina Bo Bardi, Marcelo Ferraz et Marcelo Suzuki \u00a9 Bara\u00fana<\/figcaption><\/figure>\n<p><span style=\"color: #ff6600\">L\u2019 ENGAG\u00c9<\/span><\/p>\n<p>\u00c0 partir des ann\u00e9es 1960, le mouvement moderne est remis en question tant du point de vue architectural qu\u2019urbanistique. De m\u00eame, la critique du progr\u00e8s, de l\u2019industrialisation, de la soci\u00e9t\u00e9 de consommation donne lieu \u00e0 de nouvelles propositions au Japon, aux \u00c9tats-Unis, en Europe.<\/p>\n<p>En Italie, nombreux sont les jeunes \u00a0(Ricardo Dalisi, Ugo La Pietra, Gianni Pettena) ou collectifs d\u2019architectes (Archizoom, Cavart, Strum, Studio 65, Superstudio, UFO, Zziggurat) \u00e0 livrer des projets,critiques aux formes vari\u00e9es : dystopies, installations, performances, objets. C\u2019est le \u00ab mouvement radical italien \u00bb qui s\u2019ach\u00e8ve au milieu des ann\u00e9es 1970. La transition assur\u00e9e par le groupe Alchimia \u2013 dont l\u2019architecteth\u00e9oricien Alessandro Mendini \u2013 annonce le Nouveau design italien incarn\u00e9 par Memphis.<\/p>\n<figure id=\"attachment_11154\" aria-describedby=\"caption-attachment-11154\" style=\"width: 354px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqo.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11154\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/aqo\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqo.jpg?fit=354%2C523&amp;ssl=1\" data-orig-size=\"354,523\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565879392&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt; Kazuyo Sejima, Hanahana, 1999, Driade&lt;br \/&gt;\n\u00a9 Driade&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqo.jpg?fit=203%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqo.jpg?fit=354%2C523&amp;ssl=1\" class=\"size-full wp-image-11154\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqo.jpg?resize=354%2C523\" alt=\"\" width=\"354\" height=\"523\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqo.jpg?w=354&amp;ssl=1 354w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqo.jpg?resize=203%2C300&amp;ssl=1 203w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqo.jpg?resize=122%2C180&amp;ssl=1 122w\" sizes=\"auto, (max-width: 354px) 100vw, 354px\" \/><\/a><figcaption id=\"caption-attachment-11154\" class=\"wp-caption-text\">Kazuyo Sejima, Hanahana, 1999, Driade<br \/>\u00a9 Driade<\/figcaption><\/figure>\n<p>Aux \u00c9tats-Unis, Robert Venturi ach\u00e8ve en 1964 la maison Vanna Venturi, la premi\u00e8re architecture postmoderne identifi\u00e9e : \u00ab le premier b\u00e2timent am\u00e9ricain \u00e0 proposer une rupture id\u00e9ologique avec l\u2019abstraction moderne tout en s\u2019enracinant dans la tradition \u00bb selon l\u2019architecte Peter Eisenman.<br \/>\n\u00c0 la Biennale de Venise de 1980, l\u2019hypoth\u00e8se th\u00e9orique du re-design d\u2019Alessandro Mendini se confronte \u00e0 celle du post-modernisme port\u00e9 par Paolo Portoghesi.<\/p>\n<figure id=\"attachment_11155\" aria-describedby=\"caption-attachment-11155\" style=\"width: 356px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bte.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11155\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/bte\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bte.jpg?fit=356%2C449&amp;ssl=1\" data-orig-size=\"356,449\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565879412&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt; Shigeru Ban, chaise L-Unit System, 2002, Cappellini&lt;br \/&gt;\n\u00a9 Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais&lt;br \/&gt;\n\/Georges Meguerditchian&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bte.jpg?fit=238%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bte.jpg?fit=356%2C449&amp;ssl=1\" class=\"size-full wp-image-11155\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bte.jpg?resize=356%2C449\" alt=\"\" width=\"356\" height=\"449\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bte.jpg?w=356&amp;ssl=1 356w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bte.jpg?resize=238%2C300&amp;ssl=1 238w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bte.jpg?resize=143%2C180&amp;ssl=1 143w\" sizes=\"auto, (max-width: 356px) 100vw, 356px\" \/><\/a><figcaption id=\"caption-attachment-11155\" class=\"wp-caption-text\">Shigeru Ban, chaise L-Unit System, 2002, Cappellini<br \/>\u00a9 Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais<br \/>\/Georges Meguerditchian<\/figcaption><\/figure>\n<p><span style=\"color: #ff6600\">LE PASSIONN\u00c9 DE DESIGN<\/span><\/p>\n<p>La passion m\u00e8ne \u00e0 tout, y compris au design ! Marc Held \u2013 titulaire d\u2019un simple brevet d\u2019\u00e9ducation\u2026 physique \u2013 \u0153uvrera aussi comme photographe et architecte (dont un projet de tour \u00e0 la D\u00e9fense). Curieux par nature, le passionn\u00e9 nourrit souvent plusieurs p\u00f4les d\u2019int\u00e9r\u00eat qu\u2019il aborde d\u2019abord en autodidacte avant pour certains d\u2019y exceller.<\/p>\n<p>Frank O. Gehry a fa\u00e7onn\u00e9 les principes de son \u00ab architecture en mouvement \u00bb au contact de l\u2019avant-garde artistique californienne de la fin des ann\u00e9es 1960 et des Seventies. Son go\u00fbt insatiable pour l\u2019exp\u00e9rimentation de mat\u00e9riaux industriels, prosa\u00efques et peu dispendieux, s\u2019est exprim\u00e9 dans le mobilier.<\/p>\n<figure id=\"attachment_11156\" aria-describedby=\"caption-attachment-11156\" style=\"width: 458px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ase.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11156\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/ase-9\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ase.jpg?fit=458%2C397&amp;ssl=1\" data-orig-size=\"458,397\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565878671&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt; Marc Held, fauteuil Culbuto et son repose-pieds, 1967, Knoll&lt;br \/&gt;\n\u00a9 Knoll International&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ase.jpg?fit=300%2C260&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ase.jpg?fit=458%2C397&amp;ssl=1\" class=\"size-full wp-image-11156\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ase.jpg?resize=458%2C397\" alt=\"\" width=\"458\" height=\"397\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ase.jpg?w=458&amp;ssl=1 458w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ase.jpg?resize=300%2C260&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ase.jpg?resize=180%2C156&amp;ssl=1 180w\" sizes=\"auto, (max-width: 458px) 100vw, 458px\" \/><\/a><figcaption id=\"caption-attachment-11156\" class=\"wp-caption-text\">Marc Held, fauteuil Culbuto et son repose-pieds, 1967, Knoll<br \/>\u00a9 Knoll International<\/figcaption><\/figure>\n<p>\u00c0 ses d\u00e9buts, l\u2019auto-production de Ron Arad a flirt\u00e9 avec le ready-made et la sculpture m\u00e9tallique, puis s\u2019est infl\u00e9chi vers le meuble et le luminaire \u2013 exp\u00e9rimentaux ou de s\u00e9rie. Son talent d\u2019architecte se concr\u00e9tise vraiment avec le nouveau mill\u00e9naire.<\/p>\n<p>Interrogeant tous le lien entre forme, fonction et usage, les r\u00e9ponses des passionn\u00e9s surprennent en g\u00e9n\u00e9ral quand elles ne d\u00e9coiffent pas !<\/p>\n<figure id=\"attachment_11157\" aria-describedby=\"caption-attachment-11157\" style=\"width: 342px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqz.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11157\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/aqz-3\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqz.jpg?fit=342%2C504&amp;ssl=1\" data-orig-size=\"342,504\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565878722&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt; Michael Graves, bouilloire 9093, 1985, Alessi&lt;br \/&gt;\n\u00a9 Alessi Archives&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqz.jpg?fit=204%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqz.jpg?fit=342%2C504&amp;ssl=1\" class=\"size-full wp-image-11157\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqz.jpg?resize=342%2C504\" alt=\"\" width=\"342\" height=\"504\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqz.jpg?w=342&amp;ssl=1 342w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqz.jpg?resize=204%2C300&amp;ssl=1 204w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqz.jpg?resize=122%2C180&amp;ssl=1 122w\" sizes=\"auto, (max-width: 342px) 100vw, 342px\" \/><\/a><figcaption id=\"caption-attachment-11157\" class=\"wp-caption-text\">Michael Graves, bouilloire 9093, 1985, Alessi<br \/>\u00a9 Alessi Archives<\/figcaption><\/figure>\n<p><span style=\"color: #ff6600\">LE DESIGNER OCCASIONNEL<\/span><\/p>\n<p>Le parcours de certains architectes \u2013 y compris des plus c\u00e9l\u00e8bres \u2013 ne croise qu\u2019\u00e0 peu d\u2019occasions, parfois m\u00eame qu\u2019une seule, la route du mobilier. C\u2019est le cas d\u2019Isabelle Serre.<\/p>\n<p>Alors \u00e9tudiante en architecture, son fauteuil et sa chaise longue remportent l\u2019appel \u00e0 candidatures lanc\u00e9 en 1982 par le Mobilier national aupr\u00e8s des \u00e9coles d\u2019art. Warren Platner s\u2019est arr\u00eat\u00e9 sur un coup de ma\u00eetre chez Knoll. Seuls deux projets sont connus des Viennois Coop Himmelb(l)au : le fauteuil-manifeste Vod\u00f6l \u2013 commande de Vitra \u2013 et l\u2019autel de l\u2019\u00e9glise Martin Luther \u00e0 Hainburg. D\u2019ailleurs, le mobilier sur-mesure destin\u00e9 \u00e0 une op\u00e9ration bien pr\u00e9cise justifie souvent ce design occasionnel. La ma\u00eetrise globale des co\u00fbts a incit\u00e9 Georges Candilis et Anja Blomstedt \u00e0 concevoir les meubles de l\u2019Hexacube (unit\u00e9 de camping pr\u00e9fabriqu\u00e9e) et de la r\u00e9sidence-loisirs Les Carrats \u00e0 Port Leucate. Hormis cinq \u00ab El\u00e9ments \u00bb pour le galeriste Philippe Gravier, Rudy Ricciotti ne peut en faire davantage qu\u2019il n\u2019en fait\u2026 pour Nemo.<\/p>\n<figure id=\"attachment_11158\" aria-describedby=\"caption-attachment-11158\" style=\"width: 562px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/az.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11158\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/le-mobilier-darchitectes-1960-2020\/az-4\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/az.jpg?fit=562%2C413&amp;ssl=1\" data-orig-size=\"562,413\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1565878766&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Le Mobilier d&amp;rsquo;architectes, 1960-2020\" data-image-description=\"\" data-image-caption=\"&lt;p&gt; Carlo Ratti Associati, Lift-Bit,&lt;br \/&gt;\n2016, avec le soutien de Vitra&lt;br \/&gt;\n\u00a9 Carlo Ratti Associati,&lt;br \/&gt;\nphoto : Max Tomasinelli&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/az.jpg?fit=300%2C220&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/az.jpg?fit=562%2C413&amp;ssl=1\" class=\"size-full wp-image-11158\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/az.jpg?resize=562%2C413\" alt=\"\" width=\"562\" height=\"413\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/az.jpg?w=562&amp;ssl=1 562w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/az.jpg?resize=300%2C220&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/az.jpg?resize=180%2C132&amp;ssl=1 180w\" sizes=\"auto, (max-width: 562px) 100vw, 562px\" \/><\/a><figcaption id=\"caption-attachment-11158\" class=\"wp-caption-text\">Carlo Ratti Associati, Lift-Bit,<br \/>2016, avec le soutien de Vitra<br \/>\u00a9 Carlo Ratti Associati,<br \/>photo : Max Tomasinelli<\/figcaption><\/figure>\n<p><span style=\"color: #ff6600\">LE CHERCHEUR<\/span><\/p>\n<p>L\u2019histoire de l\u2019architecture est \u00e9troitement li\u00e9e \u00e0 celles de la construction et de la technologie. Ces soixante derni\u00e8res ann\u00e9es ont \u00e9t\u00e9 particuli\u00e8rement innovantes. En tant que g\u00e9n\u00e9raliste du b\u00e2timent, les architectes collaborent avec de nombreux corps d\u2019\u00e9tat et leurs bureaux d\u2019\u00e9tudes mais aussi avec des industriels et des artisans.<\/p>\n<p>Selon leur inclination, les plus curieux ou perfectionnistes d\u2019entre eux approfondissent les potentialit\u00e9s de certains mat\u00e9riaux \u2013 composites compris \u2013, sources lumineuses ou outils num\u00e9riques. D\u2019autres explorent de nouvelles pistes structurelles ou (r\u00e9)imaginent postures et comportements.<\/p>\n<p>Par son \u00e9chelle r\u00e9duite, le mobilier leur offre un terrain d\u2019exp\u00e9rimentation presque infini, beaucoup moins on\u00e9reux et autorisant bien des libert\u00e9s, voire des outrances. Si leurs recherches sont \u00e0 l\u2019origine de chefsd\u2019\u0153uvre architecturaux d\u00f4mes g\u00e9od\u00e9siques de Richard Buckminster Fuller, centre culturel Tjibaou de Renzo Piano \u2013 on leur doit \u00e9galement de vrais ic\u00f4nes du design \u2013 Panton Chair de Verner Panton, Platner Armchair de Warren Platner ou sofa Iceberg de Zaha Hadid !<\/p>\n<p><strong>La mati\u00e8re<\/strong><\/p>\n<p>Depuis la nuit des temps, la mati\u00e8re a fa\u00e7onn\u00e9 les formes habit\u00e9es par les hommes et les animaux. Elle est ainsi au c\u0153ur de la conception architecturale.<\/p>\n<p>\u00c0 chaque mat\u00e9riau ses performances et donc ses utilisations. En ma\u00eetre d\u2019\u0153uvre exp\u00e9riment\u00e9, l\u2019architecte met sa mati\u00e8re grise au service de son art et de la recherche de performances techniques et formelles in\u00e9dites. La chauffeuse Ghost de l\u2019Italienne Cini Boeri \u00ab exploite \u00bb le potentiel formel et structurel d\u2019une simple feuille de verre d\u00e9coup\u00e9e et cintr\u00e9e. En 1959, l\u2019assise du Suisse Willy G\u00fchl valorisait d\u00e9j\u00e0 la plasticit\u00e9 de l\u2019amiante-ciment en partenariat avec Eternit.<\/p>\n<p>Durant les sixties, l\u2019apparition de nombreuses mati\u00e8res plastiques \u2013 qu\u2019elles soient moul\u00e9es, inject\u00e9es, extrud\u00e9es ou gonflables \u2013 a lib\u00e9r\u00e9 la cr\u00e9ativit\u00e9 des designers et des architectes !\u00a0 \u00ab Fondu \u00bb de plastiques et de r\u00e9sines, Gaetano Pesce en est l\u2019explorateur le plus flamboyant et engag\u00e9. Mais les deux crises p\u00e9troli\u00e8res des seventies ont red\u00e9fini le recours aux d\u00e9riv\u00e9s p\u00e9trochimiques avant de promouvoir d\u2019autres mat\u00e9riaux plus durables et renouvelables. Leurs exp\u00e9rimentations sont d\u00e9sormais multiples. L\u2019Am\u00e9ricain Eric Carlson compresse de l\u2019\u00e9pic\u00e9a pour en augmenter la r\u00e9sistance.<\/p>\n<p>Les Br\u00e9siliens Fernando et Humberto Campana donnent une seconde vie \u00e0 des chutes de bois, des branchages ou des fibres v\u00e9g\u00e9tales. Le Japonais Shigeru Ban fait appel au bambou et au carton pour r\u00e9pondre \u00e0 l\u2019habitat d\u2019urgence post-catastrophe Dominique Perrault pr\u00e9f\u00e8re d\u00e9tourner la maille m\u00e9tallique alimentaire. L\u2019Isra\u00e9lo-britannique Ron Arad est un \u00ab obsessionnel \u00bb de mati\u00e8res dont la \u00ab conqu\u00eate \u00bb \u2013 amoureuse, y compris quand il les martyrise \u2013 enfante ses cr\u00e9ations. Il joue avec elles pour d\u00e9cliner une pi\u00e8ce unique en \u00e9dition limit\u00e9e ou en s\u00e9rie, passant avec un \u00e9gal talent du m\u00e9tal \u2013 qui a forg\u00e9 sa notori\u00e9t\u00e9 \u2013 aux mat\u00e9riaux de synth\u00e8se.<\/p>\n<p><strong>La structure<\/strong><\/p>\n<p>Form\u00e9s durant leurs \u00e9tudes \u00e0 la statique, \u00e0 la structure et \u00e0 la r\u00e9sistance mat\u00e9riaux ainsi qu\u2019\u00e0 la technologie de la construction, les architectes sont civilement responsables \u2013 ainsi que leurs h\u00e9ritiers \u2013 durant trente ans de la structure de leurs constructions. Au-del\u00e0 de l\u2019obligation r\u00e8glementaire, cette discipline est devenue pour certains une passion, un jeu, une signature, voire un manifeste, s\u2019exer\u00e7ant parfois jusque dans la cr\u00e9ation de\u00a0 mobilier.<\/p>\n<p>Porte-\u00e9tendard de la modernit\u00e9 italienne, l\u2019architecte rationaliste social Franco Albini (1905-1977) combattit l\u2019acad\u00e9misme d\u00e8s l\u2019ouverture de son agence en 1931.<\/p>\n<p>\u00ab C\u2019est davantage par nos \u0153uvres que nous r\u00e9pandons les id\u00e9es que par nous-m\u00eame. \u00bb Sa ma\u00eetrise structurelle lui permit l\u2019audace de marier la fonctionnalit\u00e9 \u00e0 \u00ab la po\u00e9sie de la soustraction \u00bb qu\u2019illustre \u00e0 merveille \u00ab l\u2019\u00e9quilibre instable \u00bb de la biblioth\u00e8que Veliero qu\u2019il r\u00e9alise pour son domicile milanais en 1939.<\/p>\n<p>Cette parfaite manipulation des r\u00e8gles compl\u00e9mentaires de la traction et de la compression s\u2019exprime dans les tables de Th\u00e9odore Waddell (713 et 714), de Philippe Chaix &amp; Jean-Paul Robert ou d\u2019Atelier Lavit (Reconvexo).<\/p>\n<p>Les diff\u00e9rents pi\u00e9tements de la table Arc de Norman Foster semblent rendre hommage aux incroyables couvertures de Felix Candela. Le lampadaire Arco des fr\u00e8res Castiglioni se joue lumineusement du porte-\u00e0-faux tout comme bien des meubles en marbre et b\u00e9ton d\u2019Angelo Mangiarotti ou la r\u00e9cente biblioth\u00e8que Super_Position de Jean Nouvel. Sa pr\u00e9c\u00e9dente, Graduate suspendait ses \u00e9tag\u00e8res par des c\u00e2bles \u00e0 une \u00ab poutre \u00bb murale.<\/p>\n<p>L\u2019Impossibly thin table \u2013 plateau de 9,50 m de long pour 3 mm d\u2019\u00e9paisseur \u2013 de Junya Ishigami d\u00e9fie les lois de la gravit\u00e9 gr\u00e2ce \u00e0 la pr\u00e9contrainte. Le challenge est un excellent moteur de recherche ; la chaise la plus l\u00e9g\u00e8re est pass\u00e9e \u00e0 960 grammes en 2010 gr\u00e2ce \u00e0 la jeune Kiyomi Suzuki.<\/p>\n<p><strong>La lumi\u00e8re<\/strong><\/p>\n<p>Comment percevoir l\u2019espace et le vide sans la lumi\u00e8re, qu\u2019elle soit naturelle ou artificielle ? Ainsi pour Le Corbusier \u00ab l\u2019architecture est le jeu savant, correct et magnifique des volumes sous la lumi\u00e8re \u00bb. \u00c0 travers le luminaire, les architectes se focalisent sur l\u2019\u00e9clairage.<\/p>\n<p>Le Danois Poul Henningsen (1894-1967) fut sans nul doute le pionnier en la mati\u00e8re, pour ne pas dire un \u00ab \u00e9claireur \u00bb.<br \/>\nD\u00e8s 1925 et en collaboration avec l\u2019industriel Louis Poulsen, il approfondit les relations entre \u00ab les structures de lumi\u00e8re \u00bb, la reproduction des couleurs, les ombres et les reflets afin de satisfaire \u2013 en h\u00e9doniste convaincu \u2013 aux besoins de l\u2019homme et de la Nature.<\/p>\n<p>Durant les trois derni\u00e8res d\u00e9cennies, les sources lumineuses ont consid\u00e9rablement progress\u00e9, passant des halog\u00e8nes aux FOLED (Flexible Organic Light Emitting Diode) et \u00e0 la Li-Fi (Light Fidelity), sans oublier le laser, les cristaux liquides ou la fibre optique. Parall\u00e8lement \u00e0 cette am\u00e9lioration qualitative de la lumi\u00e8re (temp\u00e9rature de couleur, diffusion\u2026), l\u2019appareillage \u2013 optique comprise \u2013 a \u00e9t\u00e9 tout autant optimis\u00e9 (miniaturisation, sans fil, consommation \u00e9nerg\u00e9tique\u2026).<\/p>\n<p>Les luminaires ont ainsi fait leur r\u00e9volution. Ils constituent pour les architectes une source d\u2019inspiration quasi infinie y compris comme \u00ab signature \u00bb de leurs b\u00e2timents, tel le projecteur Perroquet de Renzo Piano cr\u00e9\u00e9 en 2000 pour la r\u00e9novation du Centre Georges Pompidou.<br \/>\nExplorateur n\u00e9, le Suisse Philippe Rahm investigue aussi la lumi\u00e8re (focus Artemide). D\u2019autres confr\u00e8res lui ont consacr\u00e9 leur carri\u00e8re (Carlotta de Bevilacqua, vice-pr\u00e9sidente d\u2019Artemide) ou une partie d\u2019entre elle (Paolo Rizzatto et Riccardo Sarfatti, fondateur de Luceplan).<\/p>\n<p><strong>Le num\u00e9rique<\/strong><\/p>\n<p>L\u2019architecture d\u00e9pend depuis toujours des math\u00e9matiques, des outils et des technologies indispensables \u00e0 sa repr\u00e9sentation et \u00e0 sa mise en \u0153uvre.<\/p>\n<p>Au IIIe si\u00e8cle avant J.-C., Euclide formule les bases de la g\u00e9om\u00e9trie. En 1637, Ren\u00e9 Descartes d\u00e9couvre la g\u00e9om\u00e9trie analytique tandis que la descriptive est invent\u00e9e par Gaspard Monge vers 1770. Benoit Mandelbrot met \u00e0 jour, en 1974, la math\u00e9matique fractale. Les \u00e9quations alg\u00e9briques en r\u00e9sultant permettent de d\u00e9crire avec pr\u00e9cision, et donc de construire, des architectures de plus en plus audacieuses.<\/p>\n<p>En 1949, les ordinateurs se substituent aux calculateurs. Depuis, leurs puissance et rapidit\u00e9 ont augment\u00e9 de fa\u00e7on exponentielle. En 1957, Ettore Sottsass \u00ab designe \u00bb Elea 9003, le premier computer d\u2019Olivetti. La DAO (dessin assist\u00e9 par ordinateur) puis la CAO (conception assist\u00e9 par ordinateur) vont se d\u00e9velopper d\u2019abord dans l\u2019industrie spatiale et automobile dans les ann\u00e9es 1970. Progressivement les ing\u00e9nieurs puis les architectes s\u2019approprient le num\u00e9rique pour dessiner, puis concevoir des b\u00e2timents. L\u2019am\u00e9ricain Greg Lynn et le laboratoire d\u2019intelligence artificielle du M.I.T. s\u2019int\u00e9ressent d\u00e8s 1993 \u00e0 la morphogen\u00e8se avec production de maquettes st\u00e9r\u00e9o lithographiques. Peu apr\u00e8s, deux agences fran\u00e7aises approfondissent l\u2019interaction entre l\u2019architecture, l\u2019homme et la technologie (dECOI) et entre la g\u00e9ographie, le territoire et l\u2019ameublement (Objectile). L\u2019exposition Architecture Non Standard du Centre Pompidou de 2004 offre un panorama international des \u00ab formes libres \u00bb issues de ces recherches, dont plusieurs pi\u00e8ces de mobilier. Le restaurant Le Georges con\u00e7u par Jakob+MacFarlane en concr\u00e9tise le propos.<\/p>\n<p>Le couplage entre la conception et la production assist\u00e9e par ordinateur, la d\u00e9mocratisation des imprimantes 3D\u2026 ont d\u00e9multipli\u00e9 la cr\u00e9ativit\u00e9 en autorisant la r\u00e9alisation de formes complexes jusque l\u00e0 irr\u00e9alisables. \u00c0 savoir maintenant si toutes s(er)ont souhaitables.<\/p>\n<p><strong>La posture<\/strong><\/p>\n<p>En mati\u00e8re de mobilier, la posture qualifie, d\u2019abord, la position du corps se l\u2019appropriant. De pr\u00e9f\u00e9rence ergonomique et contemporaine, elle peut \u00eatre une source d\u2019inspiration. En t\u00e9moignent la Soft Pad Chaise ES106 de Charles &amp; Ray Eames (1964), le Tubo de Joe Colombo (1969\/1970) ou encore Chairless d\u2019Alejandro Aravena (2010).<\/p>\n<p>Mais la posture est aussi soci\u00e9tale, voire r\u00e9volutionnaire du milieu des sixties \u00e0 la fin des seventies. L\u2019architecture et le design deviennent des m\u00e9dias pour lib\u00e9rer la parole, les corps et critiquer les valeurs d\u2019une soci\u00e9t\u00e9 conservatrice et consum\u00e9riste. La fabrique des singularit\u00e9s est d\u00e8s lors en marche.<\/p>\n<p>Interpell\u00e9s par le \u00ab graphisme d\u2019utilit\u00e9 utopique \u00bb du groupe britannique Archigram men\u00e9 par Peter Cook, Jean Aubert, Jean-Paul Jungmann et Antoine Stinco consacrent ensemble leur dipl\u00f4me respectif \u00e0 l\u2019architecture pneumatique. En 1966, ils cr\u00e9ent A.J.S. A\u00e9rolande pour commercialiser le mobilier gonflable qu\u2019ils d\u00e9veloppent en parall\u00e8le. \u00ab Pour nous, le design \u00e9tait un espoir [\u2026] La modernit\u00e9 appartenait au champ de l\u2019utopie, pas \u00e0 celui de l\u2019\u00e9conomie. La nature de nos cr\u00e9ations \u00e9tait li\u00e9e \u00e0 la notion d\u2019\u00e9ph\u00e9m\u00e8re. \u00bb<\/p>\n<p>Entre 1968 et 1969, le Sacco des Turinois Piero Gatti, Cesare Paolini et Franco Teodoro favorise les interactions entre les utilisateurs, tout comme la sculpturale Living Tower du Danois Verner Panton. Ce \u00ab paysage \u00e0 vivre \u00bb permet d\u2019exp\u00e9rimenter sur quatre niveaux des postures d\u00e9tendues et informelles.<br \/>\n\u00ab Serpent de lumi\u00e8re infini \u00bb, le prot\u00e9iforme luminaire Boalum de Livio Castiglioni et Gianfranco Frattini d\u00e9tourne le tuyau flexible d\u2019un aspirateur.<br \/>\n\u00ab On arr\u00eate tout, on r\u00e9fl\u00e9chit et c\u2019est pas forc\u00e9ment triste ! \u00bb<\/p>\n<p><span style=\"color: #ff6600\">LE MOBILIER \u00ab\u00a0SIGNATURE\u00a0\u00bb\u00a0<\/span><\/p>\n<p>Faire appel \u00e0 un architecte \u00ab reconnu\u00bb r\u00e9sulte souvent d\u2019une volont\u00e9 d\u2019offrir \u00e0 l\u2019op\u00e9ration une certaine visibilit\u00e9 et notori\u00e9t\u00e9 m\u00e9diatiques. Sa \u00ab patte \u00bb doit donc s\u2019y reconna\u00eetre \u2013 y compris en mati\u00e8re d\u2019architecture int\u00e9rieure et d\u2019agencement. D\u00e8s lors, mobilier et luminaires \u00ab griff\u00e9s \u00bb vont y concourir. De la marque de fabrique au marketing ? Du signe au signal et \u00e0 la signature ?<\/p>\n<p><strong>Signer un lieu<\/strong><\/p>\n<p>Les pi\u00e8ces de mobilier sur mesure cr\u00e9\u00e9es par les architectes le sont presque toujours pour l\u2019un de leurs projets. Elles viennent en parachever l\u2019architecture par leur ad\u00e9quation parfaite, tandis que leur originalit\u00e9 les \u00ab distingue \u00bb.<\/p>\n<p>La pi\u00e8ce unique ne surprend pas vraiment dans un lieu de culte telles la cath\u00e9drale de Tarente par Gio Ponti, la toute r\u00e9cente \u00e9glise d\u2019Alvaro Siza \u00e0 Saint-Jacques de la Lande ou la cr\u00e8che itin\u00e9rante de Sylvain Dubuisson. Il en est de m\u00eame pour les institutions culturelles : chevalets de Lina Bo Bardi pour le Mus\u00e9e d\u2019Art de Sao Paulo (MASP), ameublement de la Biblioth\u00e8que Fran\u00e7ois Mitterrand par Dominique Perrault et Ga\u00eblle Lauriot-Pr\u00e9vost. Renzo Piano s\u00e8me son projecteur Perroquet (cr\u00e9\u00e9 en 2000 pour la r\u00e9novation du Centre Georges Pompidou) dans ses projets, \u00e0 la fa\u00e7on d\u2019un lumineux jeu de piste plan\u00e9taire.<\/p>\n<p>Le sur-mesure est de mise dans l\u2019h\u00f4tellerie. \u00c0 l\u2019H\u00f4tel de Nell, Jean-Michel Wilmotte a tout dessin\u00e9 jusqu\u2019aux paumelles de porte. Tr\u00e8s diff\u00e9rents les uns des autres, tous les h\u00f4tels de Jean Nouvel font \u00ab l\u2019\u00e9loge de l\u2019ombre \u00bb \u00e0 laquelle concourt leur mobilier ; il y d\u00e9cline souvent une nouvelle version de ses assises El\u00e9mentaire. Pour satisfaire au budget tr\u00e8s serr\u00e9 de la Maison du Br\u00e9sil \u00e0 la Cit\u00e9 Internationale de Paris, Le Corbusier y a eu paradoxalement recours !<\/p>\n<p>La restauration s\u2019en d\u00e9lecte comme l\u2019attestent le mythique Caf\u00e9 Beaubourg de Christian de Portzamparc, l\u2019Op\u00e9ra d\u2019Odile Decq \u00e0 Garnier ou Enigma de RCR \u00e0 Barcelone. Le mobilier identitaire est un outil de communication commercial : \u00e9l\u00e9gance \u00e0 la fran\u00e7aise de celui de Rena Dumas et Denis Montel pour Herm\u00e8s, agencement mouvant du Y\u2019s Store de Ron Arad \u00e0 Tokyo. Les particuliers sont tout aussi demandeurs. Pour meubler enti\u00e8rement le loft tokyo\u00efte d\u2019un industriel forestier avec son propre bois, Eric Carlson a d\u00fb le compresser.<\/p>\n<p><strong>Signer une collection<\/strong><\/p>\n<p>L\u2019amateur a souvent une \u00e2me de collectionneur ; des \u00e9diteurs y ont d\u00e9cel\u00e9 une opportunit\u00e9 de promouvoir des s\u00e9ries plus ou moins limit\u00e9es. On pense \u00e0 la strat\u00e9gie d\u2019\u00ab art multipli\u00e9 \u00bb pr\u00f4n\u00e9e d\u00e8s 1970 par Alberto Alessi pour la firme \u00e9ponyme qu\u2019\u00e9trenne deux ans plus tard Ettore Sottsass. Moult architectes prestigieux l\u2019ont depuis rejoint au catalogue. Sawaya &amp; Moroni a une approche semblable, quoique plus exclusive, dans le mobilier. Plusieurs pi\u00e8ces de ces deux \u00e9diteurs sont expos\u00e9es dans de grands mus\u00e9es. Davantage li\u00e9e \u00e0 des luminaires sp\u00e9cialement con\u00e7us pour des projets architecturaux, la d\u00e9marche d\u2019Artemide est plus \u00ab op\u00e9rationnelle \u00bb. Enfin, le Mobilier national poursuit les ambitions du Garde meuble royal en commandant \u00e0 des cr\u00e9ateurs de renom des pi\u00e8ces afin de meubler les palais de la R\u00e9publique.<\/p>\n<p>Pilotant Vitra depuis 1976, Rolf Fehlbaum y assouvit sa double passion pour le design et l\u2019architecture. Certes, il \u00e9dite du mobilier et des accessoires cr\u00e9\u00e9s par des architectes, mais il a fait de son campus industriel de Weil-am-Rhein \u2013 ravag\u00e9 par un incendie en 1981 \u2013 une collection \u00e0 ciel ouvert d\u2019architectures (halles de production et de stockage, centre de conf\u00e9rences, bureaux, mus\u00e9e, showroom\u2026) sign\u00e9es par Grimshaw, Gehry, Ando, Hadid, Siza, Sanaa, Piano et Herzog &amp; de Meuron.<\/p>\n<p>Depuis une dizaine d\u2019ann\u00e9es, le chausseur majorquin Camper a demand\u00e9 \u00e0 un panel d\u2019architectes (Kengo Kuma, Benedetta Tagliabue, Francis K\u00e9r\u00e9, Nendo\u2026) ou de designers de lui dessiner diff\u00e9rentes typologies de magasins qu\u2019il panache dans une m\u00eame ville ou pays. Les cosm\u00e9tiques australiens Aesop vont plus loin en faisant de chaque boutique une \u0153uvre unique d\u2019architectes tels Cigu\u00eb, Schemata, Paulo Mendes da Rocha, Sn\u00f8hetta, Vincent Van Duysen\u2026 Comme le fait le quatre \u00e9toiles madril\u00e8ne Puerta America pour chacun de ses treize \u00e9tages.<\/p>\n<p><strong>Signer un univers<\/strong><\/p>\n<p>Ne sont pas si nombreux les architectes ayant eu la chance d\u2019avoir carte blanche pour concevoir et r\u00e9aliser une op\u00e9ration conforme dans ses moindres d\u00e9tails \u00e0 leur g\u00e9nie cr\u00e9atif. La villa Schr\u00f6der \u00e0 Utrecht par Gerrit Rietveld, la Maison de verre de Pierre Chareau \u00e0 Paris ou la maison de campagne du galeriste Louis Carr\u00e9 \u00e0 Bazoches-sur-Guyonne par Alvar Aalto en t\u00e9moignent avec bonheur. Plus rares encore sont ceux dont l\u2019\u0153uvre dessine \u2013 projet apr\u00e8s projet \u2013 un univers qui leur soit propre.<br \/>\nAntoni Gaudi est parvenu \u00e0 imposer son refus de la ligne droite et son imaginaire naturaliste : immeubles, parc, basilique, mobilier urbain, ameublement et luminaires, quincaillerie, papiers peints, art de la table et bijoux. Hector Guimard y est aussi parvenu, en bonne partie gr\u00e2ce \u00e0 l\u2019essor du M\u00e9tro parisien.<\/p>\n<p>Plus r\u00e9cemment, peu d\u2019architectes peuvent vraiment y pr\u00e9tendre. On doit \u00e0 Ettore Sottsass une production tous azimuts des plus diversifi\u00e9e mais qui fait preuve d\u2019une in\u00e9branlable coh\u00e9rence. Son radicalisme en a d\u00e9concert\u00e9, \u00e0 tort, plus d\u2019un mais il a su intelligemment surfer sur le temps, \u00e0 la<br \/>\nmani\u00e8re de Picasso.<\/p>\n<p>Parmi les postmodernistes, Michael Graves est sans doute celui qui a su insuffler sa vision du monde \u2013 non d\u00e9pourvue d\u2019humour et de d\u00e9rision \u2013 dans un maximum de domaines, y compris m\u00e9dical quand il se retrouva parapl\u00e9gique les treize derni\u00e8res ann\u00e9es de sa vie.<\/p>\n<p>Mais l\u2019exemple le plus probant est celui de Zaha Hadid \u00e0 la pratique du design vraiment globale. On lui doit des sanitaires, de la robinetterie, des cuisines, des tapis et papier-peints mais aussi des chaussures, des combinaisons de sport, des montres, de la maroquinerie, des bouteilles de vin, des voitures, des panneaux publicitaires pour JC Decaux\u2026 \u00ab Le dessin fut un moyen de donner forme \u00e0 mes id\u00e9es \u00bb r\u00e9p\u00e9tait-elle.<\/p>\n<p><span style=\"color: #ff6600\">SINGULARIT\u00c9 BR\u00c9SILIENNE<\/span><\/p>\n<p>Jusqu\u2019aux ann\u00e9es 1940, le mobilier br\u00e9silien a \u00e9t\u00e9 confin\u00e9 au style colonial indo-portugais par le conservatisme autoritaire au pouvoir. Longtemps confidentielle, la production mobili\u00e8re des architectes de S\u00e3o Paulo \u2013 d\u2019esprit plut\u00f4t rebelle \u2013 s\u00e9duit d\u00e9sormais le march\u00e9 international par sa singularit\u00e9 indig\u00e8ne et naturelle, bref par son \u00e9cologisme\u2026 proph\u00e9tique.<\/p>\n<p>Form\u00e9 chez L\u00facio Costa \u2013 le pr\u00e9curseur de l\u2019architecture moderne br\u00e9silienne \u2013, Oscar Niemeyer \u00ab tropicalise \u00bb le style international avec les courbes de l\u2019\u00e9glise Saint-Fran\u00e7oisd\u2019Assise de Belo Horizonte, son premier projet (1943).<\/p>\n<p>En charge, \u00e0 partir de 1950, de l\u2019architecture de l\u2019ensemble des institutions de la nouvelle capitale, Brasilia, il invite Sergio Rodrigues et Jorge Zalszupin \u00e0 les meubler. Le mobilier g\u00e9n\u00e9reux et vernaculaire du premier et la g\u00e9om\u00e9trie sensible et organique du second privil\u00e9gient les mati\u00e8res indig\u00e8nes, \u00e0 commencer par le bois dont le pays compte sept cents essences rares.<\/p>\n<p>L\u2019Italienne Lina Bo Bardi \u00e9migre avec son mari \u00e0 S\u00e3o Paulo en 1946. Engag\u00e9e socialement, son architecture \u00e9thique m\u00e9tisse le rationalisme du mouvement moderne de po\u00e9sie, de nature et d\u2019authenticit\u00e9 locales. Sa propre maison, la Casa de Vidro, est construite en 1951 autour d\u2019un arbre \u00e0 pain. Par souci de convivialit\u00e9 et de sociabilit\u00e9, elle cr\u00e9e le mobilier de ses b\u00e2timents. Install\u00e9 en 1955 \u00e0 S\u00e3o Paulo, Paulo Mendes da Rocha y impose sa vision brutaliste de la modernit\u00e9. Renon\u00e7ant au superflu, il d\u00e9veloppe une subtile intimit\u00e9 spatiale et une libert\u00e9 d\u2019usage. Son mobilier \u00e0 la limite de l\u2019abstraction propose des formes simples et m\u00e9morables. En 1964, la junte militaire s\u2019empare du pouvoir pour vingt et un ans. Oscar Niemeyer s\u2019exile en France. Architectes, artistes et syndicalistes font le dos rond.<\/p>\n<p>Depuis 1990, Fernando et Humberto Campana incarnent le renouveau du design national. Recyclant, d\u00e9tournant et anoblissant les mat\u00e9riaux pauvres du quotidien, leur travail se veut le fruit du chaos cr\u00e9atif br\u00e9silien !<\/p>\n<p><span style=\"color: #ff6600\">L&rsquo;EXCEPTION JAPONAISE<\/span><\/p>\n<p>Par son isolationnisme insulaire et son expansionnisme guerrier, le Japon s\u2019est tenu \u00e0 l\u2019\u00e9cart de l\u2019Occident et r\u00e9ciproquement jusqu\u2019au lendemain de la Seconde Guerre mondiale. Sa culture et ses modes d\u2019habiter \u2013 aupr\u00e8s du sol et de la Nature \u2013 ont longtemps entretenu un rapport des plus particuliers au mobilier.<\/p>\n<p>Son retour dans le concert des Nations et le miracle \u00e9conomique qui s\u2019ensuivit \u00e0 partir de 1960 renouvel\u00e8rent la fascination des Europ\u00e9ens et des Am\u00e9ricains pour le pays du Soleil-Levant, \u00e0 l\u2019image du japonisme de la seconde moiti\u00e9 du XIXe si\u00e8cle.<\/p>\n<p>Quasiment inconnue jusqu\u2019\u00e0 l\u2019apr\u00e8s-guerre, l\u2019architecture contemporaine nippone a depuis rayonn\u00e9 bien au-del\u00e0 de l\u2019archipel. En t\u00e9moignent les sept architectes japonais s\u2019\u00e9tant vus d\u00e9cerner depuis 1987 un Pritzker Prize. Arata Isozaki et Kisho Kurokawa ont \u00e9t\u00e9 les premiers \u00e0 construire \u00e0 l\u2019\u00e9tranger, d\u00e8s 1985. \u00c0 ce jour, Tadao Ando, Toyo Ito, Kengo Kuma, SANAA, Shigeru Ban, Sou Fujimoto et l\u2019Atelier Bow-Wow ont b\u00e2ti en France.<br \/>\nSymbiose contradictoire et minimaliste entre tradition et modernit\u00e9 \u2013 empreinte de technologie et d\u2019innovation invisibles \u2013, leur architecture s\u00e9duit d\u2019autres cultures.<\/p>\n<p>Il en est de m\u00eame de leur design fait de sensibilit\u00e9 (kansei), d\u2019harmonie (wa) et parfois de r\u00e9gression (kawai). \u00ab Le bon design est celui que comprend un enfant \u00bb, r\u00e9sume Oki Sato du collectif nendo, \u00e9galement install\u00e9 \u00e0 Milan depuis 2005.<br \/>\nShiro Kuramata y \u00e9tait aussi venu en 1981 pour faire partie de l\u2019aventure Memphis avec son ami Ettore Sottsass. De nombreux industriels italiens ont depuis \u00ab japonis\u00e9 \u00bb leur \u00e9curie de designers.<\/p>\n<p>La nouvelle g\u00e9n\u00e9ration d\u2019architectes promeut toujours l\u2019audace et l\u2019excellence du design nippon. La chaise en fibre de carbone CHERCHE MIDI de Kiyomi Suzuki ne p\u00e8se que 960 grammes. Long de 9,50 m\u00e8tres, le plateau de l\u2019Impossibly Thin Table de Junya Ishigami ne fait que 3 millim\u00e8tres d\u2019\u00e9paisseur.<br \/>\nBref, quand le beau rencontre l\u2019utile !<\/p>\n<p><span style=\"color: #ff0000\">En savoir plus:<\/span><\/p>\n<p><strong>Le Mobilier d&rsquo;architectes, 1960-2020<\/strong><\/p>\n<p>jusqu&rsquo;au 30 septembre 2019<\/p>\n<p>La Cit\u00e9 de l&rsquo;architecture &amp; du patrimoine<\/p>\n<div>https:\/\/www.citedelarchitecture.fr<\/div>\n","protected":false},"excerpt":{"rendered":"<p>\u00c0 travers les cr\u00e9ations mobili\u00e8res des plus grands noms de l\u2019architecture de ces soixante derni\u00e8res ann\u00e9es, l\u2019exposition propose de d\u00e9couvrir comment les architectes s\u2019inscrivent dans les arts d\u00e9coratifs, par le design de meubles, objets et luminaires. Depuis 150 ans, les architectes dessinent du mobilier et des luminaires venant parachever leurs constructions. \u00c0 la diff\u00e9rence du [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":11127,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[12],"tags":[],"class_list":["post-11120","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-expositions"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Le 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