{"id":2885,"date":"2026-09-16T14:04:03","date_gmt":"2026-09-16T12:04:03","guid":{"rendered":"https:\/\/dizagn.fr\/?page_id=2885"},"modified":"2026-09-16T14:06:06","modified_gmt":"2026-09-16T12:06:06","slug":"recherche-olivier-mourgue","status":"publish","type":"page","link":"https:\/\/dizagn.fr\/en\/recherche-olivier-mourgue\/","title":{"rendered":"Olivier Mourgue \u2014 \u00c0 la recherche du r\u00eave"},"content":{"rendered":"

[et_pb_section fb_built=\u00a0\u00bb1″ background_color=\u00a0\u00bb#f4efe6″ custom_padding=\u00a0\u00bb90px|6vw|60px|6vw|false|false\u00a0\u00bb custom_padding_tablet=\u00a0\u00bb60px|5vw|50px|5vw|false|false\u00a0\u00bb custom_padding_phone=\u00a0\u00bb48px|5vw|45px|5vw|false|false\u00a0\u00bb custom_padding_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb1000px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_heading title=\u00a0\u00bbOLIVIER MOURGUE\u00a0\u00bb title_level=\u00a0\u00bbh1″ title_font_size=\u00a0\u00bb54px\u00a0\u00bb title_font_size_tablet=\u00a0\u00bb42px\u00a0\u00bb title_font_size_phone=\u00a0\u00bb34px\u00a0\u00bb title_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb title_line_height=\u00a0\u00bb1.05em\u00a0\u00bb admin_label=\u00a0\u00bbTitre\u00a0\u00bb][\/et_pb_heading][et_pb_heading title=\u00a0\u00bb\u00c0 LA RECHERCHE DU R\u00caVE\u00a0\u00bb title_level=\u00a0\u00bbh2″ title_font_size=\u00a0\u00bb24px\u00a0\u00bb admin_label=\u00a0\u00bbSous-titre\u00a0\u00bb][\/et_pb_heading][et_pb_text text_font_size=\u00a0\u00bb15px\u00a0\u00bb admin_label=\u00a0\u00bbCr\u00e9dit recherche\u00a0\u00bb]<\/p>\n

Recherche de Master II en Histoire de l\u2019Art \u2014 Universit\u00e9 Paris IV\u2013Sorbonne \u2014 2008\u20132010
Thibault Lannuzel \u2014 sous la direction de Jean-Louis Gaillemin<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb1000px\u00a0\u00bb custom_padding=\u00a0\u00bb20px||70px||false|false\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_image src=\u00a0\u00bbhttps:\/\/dizagn.fr\/wp-content\/uploads\/2026\/09\/Olivier-Mourgue-\u2014-portrait-Airborne-1984.jpg\u00a0\u00bb alt=\u00a0\u00bbOlivier Mourgue, portrait, catalogue Airborne, 1984″ align=\u00a0\u00bbcenter\u00a0\u00bb admin_label=\u00a0\u00bbPortrait Airborne 1984″][\/et_pb_image][et_pb_text text_font_size=\u00a0\u00bb12px\u00a0\u00bb admin_label=\u00a0\u00bbCr\u00e9dit portrait\u00a0\u00bb]<\/p>\n

Olivier Mourgue, 1984. Catalogue Airborne. Droits r\u00e9serv\u00e9s \u2014 photographe \u00e0 identifier.<\/strong><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb900px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_heading title=\u00a0\u00bbINTRODUCTION\u00a0\u00bb title_level=\u00a0\u00bbh2″ title_font_size=\u00a0\u00bb32px\u00a0\u00bb title_font_size_tablet=\u00a0\u00bb28px\u00a0\u00bb title_font_size_phone=\u00a0\u00bb24px\u00a0\u00bb title_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][\/et_pb_heading][et_pb_text text_font_size=\u00a0\u00bb18px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb17px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb text_line_height=\u00a0\u00bb1.8em\u00a0\u00bb text_line_height_phone=\u00a0\u00bb1.65em\u00a0\u00bb text_line_height_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb]<\/p>\n

Olivier Mourgue occupe une place singuli\u00e8re dans l\u2019histoire du design fran\u00e7ais de l\u2019apr\u00e8s-guerre. Son nom reste souvent associ\u00e9 \u00e0 la s\u00e9rie Djinn, dessin\u00e9e au milieu des ann\u00e9es 1960 pour Airborne et devenue l\u2019une des images les plus imm\u00e9diatement reconnaissables du mobilier fran\u00e7ais de cette p\u00e9riode. Mais r\u00e9duire son travail \u00e0 cette r\u00e9ussite industrielle serait passer \u00e0 c\u00f4t\u00e9 de l\u2019essentiel : Olivier Mourgue a d\u00e9velopp\u00e9 une \u0153uvre beaucoup plus vaste, travers\u00e9e par la recherche sur l\u2019espace, l\u2019habitat, la mobilit\u00e9, le corps, les mat\u00e9riaux et l\u2019imaginaire.<\/p>\n

Entre 2008 et 2010, j\u2019ai consacr\u00e9 deux ann\u00e9es de recherche \u00e0 cette \u0153uvre dans le cadre d\u2019un Master II en Histoire de l\u2019Art \u00e0 l\u2019Universit\u00e9 Paris IV\u2013Sorbonne. Ce travail, men\u00e9 en collaboration directe avec Olivier Mourgue, s\u2019est appuy\u00e9 sur des entretiens, des archives priv\u00e9es et institutionnelles, l\u2019\u00e9tude syst\u00e9matique de la presse et des catalogues d\u2019\u00e9poque, ainsi que sur des recherches aupr\u00e8s du Mobilier national, du Mus\u00e9e des Arts D\u00e9coratifs, du Centre Pompidou, de la Biblioth\u00e8que Kandinsky, des Archives nationales, de l\u2019\u00c9cole des Beaux-Arts de Brest et de nombreux acteurs du design fran\u00e7ais.<\/p>\n

Cette page DIZAGN reprend aujourd\u2019hui ce travail dans une perspective \u00e9ditoriale : pr\u00e9senter Olivier Mourgue non comme l\u2019auteur d\u2019un seul mod\u00e8le iconique, mais comme un cr\u00e9ateur qui a continuellement d\u00e9plac\u00e9 les fronti\u00e8res entre design industriel, architecture int\u00e9rieure, exp\u00e9rimentation et pratique artistique.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00a0\u00bb1″ background_color=\u00a0\u00bb#f4efe6″ custom_padding=\u00a0\u00bb70px|6vw|70px|6vw|false|false\u00a0\u00bb custom_padding_tablet=\u00a0\u00bb55px|5vw|55px|5vw|false|false\u00a0\u00bb custom_padding_phone=\u00a0\u00bb48px|5vw|48px|5vw|false|false\u00a0\u00bb custom_padding_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb900px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_heading title=\u00a0\u00bb1. UNE RECHERCHE N\u00c9E \u00c0 BREST\u00a0\u00bb title_level=\u00a0\u00bbh2″ title_font_size=\u00a0\u00bb32px\u00a0\u00bb title_font_size_tablet=\u00a0\u00bb28px\u00a0\u00bb title_font_size_phone=\u00a0\u00bb24px\u00a0\u00bb title_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][\/et_pb_heading][et_pb_text text_font_size=\u00a0\u00bb18px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb17px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb text_line_height=\u00a0\u00bb1.8em\u00a0\u00bb text_line_height_phone=\u00a0\u00bb1.65em\u00a0\u00bb text_line_height_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb]<\/p>\n

L\u2019histoire de cette recherche commence en mai 2008. Je cherchais alors \u00e0 consacrer mon travail universitaire \u00e0 un designer fran\u00e7ais des ann\u00e9es 1960. Le choix d\u2019Olivier Mourgue s\u2019est rapidement impos\u00e9, mais une question restait enti\u00e8re : comment entrer en contact avec lui ?<\/p>\n

J\u2019appris qu\u2019il avait enseign\u00e9 pendant pr\u00e8s de trois d\u00e9cennies \u00e0 l\u2019\u00c9cole des Beaux-Arts de Brest. Isabelle Laurent organisa une rencontre. Arriv\u00e9 dans l\u2019\u00e9cole, perdu parmi les \u00e9tudiants, je demandai \u00e0 un homme qui passait o\u00f9 se trouvait Olivier Mourgue. Il me guida jusqu\u2019\u00e0 l\u2019atelier avant de se retourner et de se pr\u00e9senter lui-m\u00eame. Cette premi\u00e8re rencontre r\u00e9sumait d\u00e9j\u00e0 quelque chose de sa personnalit\u00e9 : une forme de libert\u00e9, d\u2019humour et de distance vis-\u00e0-vis de sa propre notori\u00e9t\u00e9.<\/p>\n

\u00c0 l\u2019issue de cet \u00e9change, nous avons convenu ensemble des premi\u00e8res orientations de la recherche. Les mois suivants furent consacr\u00e9s au d\u00e9pouillement des p\u00e9riodiques, \u00e0 la consultation d\u2019archives, aux rencontres avec des conservateurs, des galeristes, d\u2019anciens collaborateurs, des proches et des \u00e9l\u00e8ves. La premi\u00e8re ann\u00e9e s\u2019est concentr\u00e9e sur le contexte de cr\u00e9ation et le design industriel ; la seconde a ouvert l\u2019\u00e9tude \u00e0 l\u2019espace, \u00e0 la mobilit\u00e9, \u00e0 la Bretagne, \u00e0 l\u2019enseignement, \u00e0 l\u2019\u0153uvre artistique et au march\u00e9.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb1000px\u00a0\u00bb custom_padding=\u00a0\u00bb50px||20px||false|false\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_heading title=\u00a0\u00bb2. UN DESIGNER DE L\u2019ESPACE, PAS SEULEMENT DU SI\u00c8GE\u00a0\u00bb title_level=\u00a0\u00bbh2″ title_font_size=\u00a0\u00bb32px\u00a0\u00bb title_font_size_tablet=\u00a0\u00bb28px\u00a0\u00bb title_font_size_phone=\u00a0\u00bb24px\u00a0\u00bb title_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][\/et_pb_heading][et_pb_text text_font_size=\u00a0\u00bb18px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb17px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb text_line_height=\u00a0\u00bb1.8em\u00a0\u00bb text_line_height_phone=\u00a0\u00bb1.65em\u00a0\u00bb text_line_height_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb]<\/p>\n

Tr\u00e8s t\u00f4t, le travail d\u2019Olivier Mourgue se distingue par une conception \u00e9largie du mobilier. Le si\u00e8ge n\u2019est jamais seulement un objet autonome : il participe \u00e0 un environnement, organise les postures, modifie la relation entre les personnes et red\u00e9finit l\u2019espace int\u00e9rieur.<\/p>\n

Les installations et pr\u00e9sentations Airborne au Salon des Arts M\u00e9nagers dans les ann\u00e9es 1960 sont particuli\u00e8rement r\u00e9v\u00e9latrices de cette d\u00e9marche. Elles montrent un mobilier pens\u00e9 en syst\u00e8me, associ\u00e9 \u00e0 la couleur, aux rev\u00eatements, aux accessoires et \u00e0 une sc\u00e9nographie globale. Les fauteuils, chauffeuses, tables et \u00e9l\u00e9ments modulaires deviennent les composants d\u2019une mani\u00e8re nouvelle d\u2019habiter.<\/p>\n

Cette approche rejoint une transformation plus large de la soci\u00e9t\u00e9 fran\u00e7aise : diffusion de nouveaux mat\u00e9riaux, d\u00e9veloppement de la production industrielle, apparition de nouveaux modes de consommation et remise en question des conventions domestiques. Olivier Mourgue ne travaille donc pas dans l\u2019isolement ; il appartient pleinement \u00e0 cette g\u00e9n\u00e9ration qui cherche \u00e0 faire correspondre les formes aux nouveaux usages.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb1000px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb1_2″][et_pb_image src=\u00a0\u00bbhttps:\/\/dizagn.fr\/wp-content\/uploads\/2026\/09\/Olivier-Mourgue-\u2014-Archives-Collas-\u2014-Salon-des-Arts-Menagers-1968.jpg\u00a0\u00bb alt=\u00a0\u00bbOlivier Mourgue \/ Airborne, Salon des Arts M\u00e9nagers, 1968 \u2014 Archives Collas\u00a0\u00bb admin_label=\u00a0\u00bbCollas 1968″][\/et_pb_image][et_pb_text text_font_size=\u00a0\u00bb12px\u00a0\u00bb]<\/p>\n

Olivier Mourgue \/ Airborne, Salon des Arts M\u00e9nagers, 1968. Archives Collas \u2014 Mus\u00e9e des Arts D\u00e9coratifs. Droits r\u00e9serv\u00e9s \u2014 MAD \/ ADAGP.<\/strong> Photographe \u00e0 identifier.<\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_2″][et_pb_image src=\u00a0\u00bbhttps:\/\/dizagn.fr\/wp-content\/uploads\/2026\/09\/Olivier-Mourgue-\u2014-Archives-Collas-\u2014-Salon-des-Arts-Menagers-1967.jpg\u00a0\u00bb alt=\u00a0\u00bbOlivier Mourgue \/ Airborne, Salon des Arts M\u00e9nagers, 1967″ admin_label=\u00a0\u00bbCollas 1967″][\/et_pb_image][et_pb_text text_font_size=\u00a0\u00bb12px\u00a0\u00bb]<\/p>\n

Olivier Mourgue \/ Airborne, Salon des Arts M\u00e9nagers, 1967. Archives Collas \u2014 Mus\u00e9e des Arts D\u00e9coratifs. Droits r\u00e9serv\u00e9s \u2014 MAD \/ ADAGP.<\/strong> Photographe \u00e0 identifier.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00a0\u00bb1″ background_color=\u00a0\u00bb#f4efe6″ custom_padding=\u00a0\u00bb70px|6vw|70px|6vw|false|false\u00a0\u00bb custom_padding_tablet=\u00a0\u00bb55px|5vw|55px|5vw|false|false\u00a0\u00bb custom_padding_phone=\u00a0\u00bb48px|5vw|48px|5vw|false|false\u00a0\u00bb custom_padding_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb900px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_heading title=\u00a0\u00bb3. AIRBORNE ET LE SUCC\u00c8S INDUSTRIEL \u2014 DJINN\u00a0\u00bb title_level=\u00a0\u00bbh2″ title_font_size=\u00a0\u00bb32px\u00a0\u00bb title_font_size_tablet=\u00a0\u00bb28px\u00a0\u00bb title_font_size_phone=\u00a0\u00bb24px\u00a0\u00bb title_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][\/et_pb_heading][et_pb_text text_font_size=\u00a0\u00bb18px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb17px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb text_line_height=\u00a0\u00bb1.8em\u00a0\u00bb text_line_height_phone=\u00a0\u00bb1.65em\u00a0\u00bb text_line_height_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb]<\/p>\n

La collaboration avec Airborne constitue l\u2019un des axes majeurs de la carri\u00e8re d\u2019Olivier Mourgue. La s\u00e9rie Djinn, con\u00e7ue au milieu des ann\u00e9es 1960, condense plusieurs de ses pr\u00e9occupations : structure l\u00e9g\u00e8re, mousse synth\u00e9tique, textile extensible, silhouettes basses et souples, mobilit\u00e9 des \u00e9l\u00e9ments et rejet de la rigidit\u00e9 du mobilier traditionnel.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb1000px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_image src=\u00a0\u00bbhttps:\/\/dizagn.fr\/wp-content\/uploads\/2026\/09\/Olivier-Mourgue-\u2014-Djinn-\u2014-Airborne-1969.jpg\u00a0\u00bb alt=\u00a0\u00bbOlivier Mourgue, s\u00e9rie Djinn, Airborne, catalogue 1969″][\/et_pb_image][et_pb_text text_font_size=\u00a0\u00bb12px\u00a0\u00bb]<\/p>\n

Olivier Mourgue, s\u00e9rie Djinn, chaise longue 7400 et ottoman 7501, Airborne, catalogue 1969. Droits r\u00e9serv\u00e9s \u2014 Airborne \/ ADAGP.<\/strong> Cr\u00e9dit photographique \u00e0 identifier.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb900px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_text text_font_size=\u00a0\u00bb18px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb17px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb text_line_height=\u00a0\u00bb1.8em\u00a0\u00bb text_line_height_phone=\u00a0\u00bb1.65em\u00a0\u00bb text_line_height_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb]<\/p>\n

Le Centre Pompidou conserve aujourd\u2019hui plusieurs variantes de la s\u00e9rie et date les mod\u00e8les Djinn de 1964\u20131965. La collection comprend fauteuil, chauffeuse, chaise, chaise longue, poufs et mod\u00e8les duo. La logique n\u2019est donc pas celle d\u2019un si\u00e8ge isol\u00e9, mais bien celle d\u2019une famille de formes capables de composer un paysage int\u00e9rieur. Les si\u00e8ges Djinn apparaissent \u00e9galement dans 2001 : l\u2019Odyss\u00e9e de l\u2019espace<\/em> de Stanley Kubrick, ce qui contribue tr\u00e8s fortement \u00e0 leur diffusion internationale.<\/p>\n

Le succ\u00e8s de Djinn ne doit cependant pas masquer les autres recherches d\u00e9velopp\u00e9es pour Airborne : Joker, Whist, Tric-Trac, Montr\u00e9al, Cubique, Bouloum et de nombreux projets destin\u00e9s aussi bien au march\u00e9 r\u00e9sidentiel qu\u2019aux collectivit\u00e9s.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb1000px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_image src=\u00a0\u00bbhttps:\/\/dizagn.fr\/wp-content\/uploads\/2026\/09\/Olivier-Mourgue-\u2014-Djinn-Montreal-\u2014-Airborne-Collectivites-1971.jpg\u00a0\u00bb alt=\u00a0\u00bbOlivier Mourgue, Djinn et Montr\u00e9al, Airborne Collectivit\u00e9s, 1971″][\/et_pb_image][et_pb_text text_font_size=\u00a0\u00bb12px\u00a0\u00bb]<\/p>\n

Olivier Mourgue, Djinn \/ Montr\u00e9al, Airborne Collectivit\u00e9s, 1971. Droits r\u00e9serv\u00e9s \u2014 Airborne \/ ADAGP.<\/strong><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00a0\u00bb1″ background_color=\u00a0\u00bb#f4efe6″ custom_padding=\u00a0\u00bb70px|6vw|70px|6vw|false|false\u00a0\u00bb custom_padding_tablet=\u00a0\u00bb55px|5vw|55px|5vw|false|false\u00a0\u00bb custom_padding_phone=\u00a0\u00bb48px|5vw|48px|5vw|false|false\u00a0\u00bb custom_padding_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb900px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_heading title=\u00a0\u00bb4. LA RECHERCHE POUR L\u2019HABITAT \u2014 MOBILIER NATIONAL\u00a0\u00bb title_level=\u00a0\u00bbh2″ title_font_size=\u00a0\u00bb32px\u00a0\u00bb title_font_size_tablet=\u00a0\u00bb28px\u00a0\u00bb title_font_size_phone=\u00a0\u00bb24px\u00a0\u00bb title_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][\/et_pb_heading][et_pb_text text_font_size=\u00a0\u00bb18px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb17px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb text_line_height=\u00a0\u00bb1.8em\u00a0\u00bb text_line_height_phone=\u00a0\u00bb1.65em\u00a0\u00bb text_line_height_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb]<\/p>\n

Au-del\u00e0 de l\u2019\u00e9dition priv\u00e9e, Olivier Mourgue travaille \u00e9galement sur la commande publique et l\u2019habitat. Ses recherches pour le Mobilier national montrent un designer pr\u00e9occup\u00e9 par l\u2019organisation compl\u00e8te du logement : mobilier int\u00e9gr\u00e9, circulation, rangement, usages quotidiens et capacit\u00e9 d\u2019\u00e9volution des espaces.<\/p>\n

L\u2019\u00ab appartement en mouvement \u00bb et les projets li\u00e9s \u00e0 l\u2019habitat collectif t\u00e9moignent de cette ambition. Le mobilier n\u2019est plus seulement ajout\u00e9 dans une pi\u00e8ce : il devient un outil d\u2019architecture int\u00e9rieure. Les \u00e9l\u00e9ments mobiles, les rangements, les assises et les zones de vie participent \u00e0 une r\u00e9flexion globale sur la mani\u00e8re dont un logement peut s\u2019adapter \u00e0 ses habitants.<\/p>\n

Cette partie de son travail est essentielle car elle replace Olivier Mourgue dans une histoire plus large de la recherche fran\u00e7aise sur l\u2019habitat moderne, aux c\u00f4t\u00e9s des programmes du Mobilier national, des exp\u00e9rimentations institutionnelles et des commandes publiques des ann\u00e9es 1960 et 1970.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb760px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_image src=\u00a0\u00bbhttps:\/\/dizagn.fr\/wp-content\/uploads\/2026\/09\/Olivier-Mourgue-\u2014-Mobilier-national-p152.jpg\u00a0\u00bb alt=\u00a0\u00bbOlivier Mourgue, recherche pour l\u2019habitat, Mobilier national\u00a0\u00bb][\/et_pb_image][et_pb_text text_font_size=\u00a0\u00bb12px\u00a0\u00bb]<\/p>\n

Olivier Mourgue, recherche pour l\u2019habitat. Mobilier national. Droits r\u00e9serv\u00e9s \u2014 Mobilier national \/ ADAGP.<\/strong> Cr\u00e9dit photographique \u00e0 confirmer.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00a0\u00bb1″ background_color=\u00a0\u00bb#f4efe6″ custom_padding=\u00a0\u00bb70px|6vw|70px|6vw|false|false\u00a0\u00bb custom_padding_tablet=\u00a0\u00bb55px|5vw|55px|5vw|false|false\u00a0\u00bb custom_padding_phone=\u00a0\u00bb48px|5vw|48px|5vw|false|false\u00a0\u00bb custom_padding_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb900px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_heading title=\u00a0\u00bb5. DESIGN D\u00c9MOCRATIQUE \u2014 PRISUNIC ET L\u2019INT\u00c9RIEUR MODULAIRE\u00a0\u00bb title_level=\u00a0\u00bbh2″ title_font_size=\u00a0\u00bb32px\u00a0\u00bb title_font_size_tablet=\u00a0\u00bb28px\u00a0\u00bb title_font_size_phone=\u00a0\u00bb24px\u00a0\u00bb title_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][\/et_pb_heading][et_pb_text text_font_size=\u00a0\u00bb18px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb17px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb text_line_height=\u00a0\u00bb1.8em\u00a0\u00bb text_line_height_phone=\u00a0\u00bb1.65em\u00a0\u00bb text_line_height_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb]<\/p>\n

Olivier Mourgue s\u2019int\u00e9resse \u00e9galement \u00e0 la diffusion du design aupr\u00e8s d\u2019un public plus large. Sa collaboration avec Prisunic s\u2019inscrit dans cette volont\u00e9 de concevoir des objets et des syst\u00e8mes accessibles, adapt\u00e9s aux espaces domestiques ordinaires.<\/p>\n

Biblioth\u00e8ques, rangements, tapis-si\u00e8ges et \u00e9quipements modulaires prolongent la r\u00e9flexion engag\u00e9e dans ses si\u00e8ges : comment faire davantage avec moins ? Comment laisser l\u2019usager recomposer son environnement ? Comment rendre le mobilier plus souple, plus mobile et moins autoritaire ?<\/p>\n

Le tapis-si\u00e8ge est particuli\u00e8rement r\u00e9v\u00e9lateur de cette d\u00e9marche. Il remet en cause la s\u00e9paration traditionnelle entre mobilier, textile et sol. Il propose une autre relation au corps, moins verticale, plus informelle, et participe \u00e0 cette transformation des postures qui traverse tout le design de la fin des ann\u00e9es 1960.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb880px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_image src=\u00a0\u00bbhttps:\/\/dizagn.fr\/wp-content\/uploads\/2026\/09\/Olivier-Mourgue-\u2014-Domus-473-\u2014-Prisunic-1969-scaled.jpg\u00a0\u00bb alt=\u00a0\u00bbOlivier Mourgue, recherches pour Prisunic, Domus 473, 1969″][\/et_pb_image][et_pb_text text_font_size=\u00a0\u00bb12px\u00a0\u00bb]<\/p>\n

Olivier Mourgue, recherches pour Prisunic. Domus n\u00b0473, avril 1969. Droits r\u00e9serv\u00e9s \u2014 Editoriale Domus \/ ADAGP.<\/strong> Photographe \u00e0 identifier.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00a0\u00bb1″ background_color=\u00a0\u00bb#f4efe6″ custom_padding=\u00a0\u00bb70px|6vw|70px|6vw|false|false\u00a0\u00bb custom_padding_tablet=\u00a0\u00bb55px|5vw|55px|5vw|false|false\u00a0\u00bb custom_padding_phone=\u00a0\u00bb48px|5vw|48px|5vw|false|false\u00a0\u00bb custom_padding_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb900px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_heading title=\u00a0\u00bb6. MOBILIT\u00c9 ET NOMADISME\u00a0\u00bb title_level=\u00a0\u00bbh2″ title_font_size=\u00a0\u00bb32px\u00a0\u00bb title_font_size_tablet=\u00a0\u00bb28px\u00a0\u00bb title_font_size_phone=\u00a0\u00bb24px\u00a0\u00bb title_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][\/et_pb_heading][et_pb_text text_font_size=\u00a0\u00bb18px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb17px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb text_line_height=\u00a0\u00bb1.8em\u00a0\u00bb text_line_height_phone=\u00a0\u00bb1.65em\u00a0\u00bb text_line_height_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb]<\/p>\n

La mobilit\u00e9 constitue progressivement un th\u00e8me central. Olivier Mourgue imagine des ateliers mobiles, des syst\u00e8mes transportables, des \u00e9quipements autonomes et des projets qui cherchent \u00e0 r\u00e9duire la d\u00e9pendance \u00e0 l\u2019architecture fixe.<\/p>\n

Ces recherches t\u00e9moignent d\u2019un d\u00e9placement important : le designer ne cherche plus seulement \u00e0 am\u00e9liorer l\u2019int\u00e9rieur domestique, mais \u00e0 questionner la permanence m\u00eame de l\u2019habitat. Le voyage, le transport, le provisoire et l\u2019autonomie deviennent des sujets de projet.<\/p>\n

Cette orientation annonce certaines pr\u00e9occupations contemporaines autour de la modularit\u00e9, de l\u2019habitat l\u00e9ger et des modes de vie nomades. Elle montre aussi \u00e0 quel point Olivier Mourgue s\u2019\u00e9loigne progressivement du seul statut de designer de mobilier pour devenir un concepteur de situations et d\u2019usages.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb760px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_image src=\u00a0\u00bbhttps:\/\/dizagn.fr\/wp-content\/uploads\/2026\/09\/Olivier-Mourgue-\u2014-Abitare-95\u201396-\u2014-Atelier-mobile-scaled.jpg\u00a0\u00bb alt=\u00a0\u00bbOlivier Mourgue, Atelier mobile, Abitare 95-96″][\/et_pb_image][et_pb_text text_font_size=\u00a0\u00bb12px\u00a0\u00bb]<\/p>\n

Olivier Mourgue, Atelier mobile. Abitare n\u00b095\u201396. Droits r\u00e9serv\u00e9s \u2014 Abitare \/ RCS \/ ADAGP.<\/strong> Photographe \u00e0 identifier.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00a0\u00bb1″ background_color=\u00a0\u00bb#f4efe6″ custom_padding=\u00a0\u00bb70px|6vw|70px|6vw|false|false\u00a0\u00bb custom_padding_tablet=\u00a0\u00bb55px|5vw|55px|5vw|false|false\u00a0\u00bb custom_padding_phone=\u00a0\u00bb48px|5vw|48px|5vw|false|false\u00a0\u00bb custom_padding_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb900px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_heading title=\u00a0\u00bb7. BOULOUM \u2014 LE CORPS, LE JEU ET L\u2019OBJET-SCULPTURE\u00a0\u00bb title_level=\u00a0\u00bbh2″ title_font_size=\u00a0\u00bb32px\u00a0\u00bb title_font_size_tablet=\u00a0\u00bb28px\u00a0\u00bb title_font_size_phone=\u00a0\u00bb24px\u00a0\u00bb title_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][\/et_pb_heading][et_pb_text text_font_size=\u00a0\u00bb18px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb17px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb text_line_height=\u00a0\u00bb1.8em\u00a0\u00bb text_line_height_phone=\u00a0\u00bb1.65em\u00a0\u00bb text_line_height_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb]<\/p>\n

Avec Bouloum, la relation entre corps et objet devient explicite. La silhouette anthropomorphe du si\u00e8ge transforme le meuble en personnage. On ne sait plus tr\u00e8s bien s\u2019il faut s\u2019y asseoir, le regarder, le d\u00e9placer ou jouer avec lui.<\/p>\n

Cette ambigu\u00eft\u00e9 est fondamentale. Olivier Mourgue s\u2019int\u00e9resse \u00e0 des objets qui \u00e9chappent aux cat\u00e9gories strictes. Bouloum est \u00e0 la fois si\u00e8ge, sculpture, pr\u00e9sence et signe graphique. Son caract\u00e8re ludique ne doit pas \u00eatre confondu avec une simple fantaisie formelle : il s\u2019inscrit dans une recherche plus profonde sur la relation affective que l\u2019usager peut entretenir avec les objets.<\/p>\n

Pr\u00e9sent\u00e9 dans un contexte international, notamment autour de l\u2019Exposition universelle d\u2019Osaka en 1970, Bouloum devient l\u2019un des mod\u00e8les qui incarnent le mieux le passage du design fonctionnel \u00e0 un univers plus libre, plus organique et plus proche de l\u2019imaginaire.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb880px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_image src=\u00a0\u00bbhttps:\/\/dizagn.fr\/wp-content\/uploads\/2026\/09\/Olivier-Mourgue-\u2014-Bouloum-Osaka-1970-scaled.jpg\u00a0\u00bb alt=\u00a0\u00bbOlivier Mourgue, Bouloum, Osaka, 1970″][\/et_pb_image][et_pb_text text_font_size=\u00a0\u00bb12px\u00a0\u00bb]<\/p>\n

Olivier Mourgue, Bouloum, Airborne, Osaka, 1970. Droits r\u00e9serv\u00e9s \u2014 ADAGP.<\/strong> Source et cr\u00e9dit photographique \u00e0 identifier.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00a0\u00bb1″ background_color=\u00a0\u00bb#f4efe6″ custom_padding=\u00a0\u00bb70px|6vw|70px|6vw|false|false\u00a0\u00bb custom_padding_tablet=\u00a0\u00bb55px|5vw|55px|5vw|false|false\u00a0\u00bb custom_padding_phone=\u00a0\u00bb48px|5vw|48px|5vw|false|false\u00a0\u00bb custom_padding_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb900px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_heading title=\u00a0\u00bb8. HABITER AUTREMENT \u2014 PAYSAGES INT\u00c9RIEURS\u00a0\u00bb title_level=\u00a0\u00bbh2″ title_font_size=\u00a0\u00bb32px\u00a0\u00bb title_font_size_tablet=\u00a0\u00bb28px\u00a0\u00bb title_font_size_phone=\u00a0\u00bb24px\u00a0\u00bb title_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][\/et_pb_heading][et_pb_text text_font_size=\u00a0\u00bb18px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb17px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb text_line_height=\u00a0\u00bb1.8em\u00a0\u00bb text_line_height_phone=\u00a0\u00bb1.65em\u00a0\u00bb text_line_height_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb]<\/p>\n

Au tournant des ann\u00e9es 1970, Olivier Mourgue d\u00e9veloppe des propositions qui tendent \u00e0 faire dispara\u00eetre l\u2019objet isol\u00e9 au profit de v\u00e9ritables paysages int\u00e9rieurs. Les \u00ab coins conversation \u00bb, appartements exp\u00e9rimentaux et environnements souples cherchent \u00e0 produire des zones d\u2019usage plut\u00f4t que des compositions traditionnelles de meubles.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb1000px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb1_2″][et_pb_image src=\u00a0\u00bbhttps:\/\/dizagn.fr\/wp-content\/uploads\/2026\/09\/Olivier-Mourgue-\u2014-Coin-conversation-\u2014-Schoner-Wohnen-1972-scaled.jpg\u00a0\u00bb alt=\u00a0\u00bbOlivier Mourgue, coin conversation, Sch\u00f6ner Wohnen, 1972″][\/et_pb_image][et_pb_text text_font_size=\u00a0\u00bb12px\u00a0\u00bb]<\/p>\n

Olivier Mourgue, Coin conversation. Sch\u00f6ner Wohnen, 1972. Droits r\u00e9serv\u00e9s \u2014 Sch\u00f6ner Wohnen \/ ADAGP.<\/strong> Photographe \u00e0 identifier.<\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_2″][et_pb_image src=\u00a0\u00bbhttps:\/\/dizagn.fr\/wp-content\/uploads\/2026\/09\/Olivier-Mourgue-\u2014-Domus-452-appartement.jpg\u00a0\u00bb alt=\u00a0\u00bbOlivier Mourgue, appartement exp\u00e9rimental, Domus 452″][\/et_pb_image][et_pb_text text_font_size=\u00a0\u00bb12px\u00a0\u00bb]<\/p>\n

Olivier Mourgue, appartement exp\u00e9rimental. Domus n\u00b0452. Droits r\u00e9serv\u00e9s \u2014 Editoriale Domus \/ ADAGP.<\/strong> Photographe \u00e0 identifier.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb900px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_text text_font_size=\u00a0\u00bb18px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb17px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb text_line_height=\u00a0\u00bb1.8em\u00a0\u00bb text_line_height_phone=\u00a0\u00bb1.65em\u00a0\u00bb text_line_height_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb]<\/p>\n

Cette approche transforme la position du corps dans l\u2019espace. On s\u2019assoit plus bas, on s\u2019allonge, on se rapproche du sol, on se regroupe. Les hi\u00e9rarchies classiques entre salon, si\u00e8ge, table et circulation deviennent moins nettes. L\u2019int\u00e9rieur se pense comme un territoire \u00e0 pratiquer.<\/p>\n

Cette recherche trouve un prolongement particuli\u00e8rement spectaculaire dans les projets d\u2019am\u00e9nagement global et dans les environnements immersifs. Olivier Mourgue ne se contente plus de dessiner des objets : il cherche \u00e0 produire des atmosph\u00e8res.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00a0\u00bb1″ background_color=\u00a0\u00bb#f4efe6″ custom_padding=\u00a0\u00bb70px|6vw|70px|6vw|false|false\u00a0\u00bb custom_padding_tablet=\u00a0\u00bb55px|5vw|55px|5vw|false|false\u00a0\u00bb custom_padding_phone=\u00a0\u00bb48px|5vw|48px|5vw|false|false\u00a0\u00bb custom_padding_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb900px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_heading title=\u00a0\u00bb9. CELLULE CAF\u00c9T\u00c9RIA \u2014 ARCHITECTURE INT\u00c9RIEURE ET IMMERSION\u00a0\u00bb title_level=\u00a0\u00bbh2″ title_font_size=\u00a0\u00bb32px\u00a0\u00bb title_font_size_tablet=\u00a0\u00bb28px\u00a0\u00bb title_font_size_phone=\u00a0\u00bb24px\u00a0\u00bb title_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][\/et_pb_heading][et_pb_text text_font_size=\u00a0\u00bb18px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb17px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb text_line_height=\u00a0\u00bb1.8em\u00a0\u00bb text_line_height_phone=\u00a0\u00bb1.65em\u00a0\u00bb text_line_height_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb]<\/p>\n

La Cellule Caf\u00e9t\u00e9ria illustre cette capacit\u00e9 \u00e0 concevoir un espace comme une exp\u00e9rience compl\u00e8te. Formes, couleurs, mobilier et circulation sont int\u00e9gr\u00e9s dans un m\u00eame dispositif.<\/p>\n

Cette logique se retrouve dans plusieurs projets d\u2019Olivier Mourgue : espaces collectifs, am\u00e9nagements publics, recherches pour l\u2019industrie et propositions prospectives. L\u2019architecture int\u00e9rieure devient alors un laboratoire dans lequel il peut exp\u00e9rimenter \u00e0 une \u00e9chelle plus large les principes d\u00e9j\u00e0 pr\u00e9sents dans ses meubles : continuit\u00e9, souplesse, enveloppement, transformation.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb760px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_image src=\u00a0\u00bbhttps:\/\/dizagn.fr\/wp-content\/uploads\/2026\/09\/Olivier-Mourgue-\u2014-Cellule-Cafeteria-scaled.jpg\u00a0\u00bb alt=\u00a0\u00bbOlivier Mourgue, Cellule Caf\u00e9t\u00e9ria\u00a0\u00bb][\/et_pb_image][et_pb_text text_font_size=\u00a0\u00bb12px\u00a0\u00bb]<\/p>\n

Olivier Mourgue, Cellule Caf\u00e9t\u00e9ria. Source : Art Nouveau Revival<\/em>, p. 240. Droits r\u00e9serv\u00e9s \u2014 ADAGP.<\/strong> Cr\u00e9dit photographique \u00e0 identifier.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00a0\u00bb1″ background_color=\u00a0\u00bb#f4efe6″ custom_padding=\u00a0\u00bb70px|6vw|70px|6vw|false|false\u00a0\u00bb custom_padding_tablet=\u00a0\u00bb55px|5vw|55px|5vw|false|false\u00a0\u00bb custom_padding_phone=\u00a0\u00bb48px|5vw|48px|5vw|false|false\u00a0\u00bb custom_padding_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb900px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_heading title=\u00a0\u00bb10. VISIONA III, LA MAISON DE TOILE ET LES ENVIRONNEMENTS EXP\u00c9RIMENTAUX\u00a0\u00bb title_level=\u00a0\u00bbh2″ title_font_size=\u00a0\u00bb32px\u00a0\u00bb title_font_size_tablet=\u00a0\u00bb28px\u00a0\u00bb title_font_size_phone=\u00a0\u00bb24px\u00a0\u00bb title_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][\/et_pb_heading][et_pb_text text_font_size=\u00a0\u00bb18px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb17px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb text_line_height=\u00a0\u00bb1.8em\u00a0\u00bb text_line_height_phone=\u00a0\u00bb1.65em\u00a0\u00bb text_line_height_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb]<\/p>\n

Au d\u00e9but des ann\u00e9es 1970, les recherches d\u2019Olivier Mourgue atteignent une dimension particuli\u00e8rement ambitieuse avec Visiona III, r\u00e9alis\u00e9 dans le cadre des exp\u00e9rimentations de Bayer. Il y d\u00e9veloppe un environnement dans lequel les mat\u00e9riaux, les postures et les usages sont pens\u00e9s comme un tout.<\/p>\n

Cette recherche se prolonge dans d\u2019autres projets : Maison de toile, ateliers mobiles, \u00e9olienne portative, si\u00e8ges-personnages, projets de v\u00e9hicules et syst\u00e8mes destin\u00e9s au d\u00e9placement. L\u2019objet n\u2019est plus le but ultime du projet. Il devient un moyen pour interroger la mani\u00e8re de vivre.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb760px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_image src=\u00a0\u00bbhttps:\/\/dizagn.fr\/wp-content\/uploads\/2026\/09\/Olivier-Mourgue-\u2014-100-Idees-\u2014-projet-textile-scaled.jpg\u00a0\u00bb alt=\u00a0\u00bbOlivier Mourgue, projet textile, 100 Id\u00e9es\u00a0\u00bb][\/et_pb_image][et_pb_text text_font_size=\u00a0\u00bb12px\u00a0\u00bb]<\/p>\n

Olivier Mourgue, projet textile \/ habitat transportable. 100 Id\u00e9es. Droits r\u00e9serv\u00e9s \u2014 100 Id\u00e9es \/ ADAGP.<\/strong> Photographe \u00e0 identifier.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00a0\u00bb1″ background_color=\u00a0\u00bb#f4efe6″ custom_padding=\u00a0\u00bb70px|6vw|90px|6vw|false|false\u00a0\u00bb custom_padding_tablet=\u00a0\u00bb55px|5vw|65px|5vw|false|false\u00a0\u00bb custom_padding_phone=\u00a0\u00bb48px|5vw|50px|5vw|false|false\u00a0\u00bb custom_padding_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][et_pb_row width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb900px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_heading title=\u00a0\u00bb11. LE D\u00c9PART EN BRETAGNE \u2014 ART, ENSEIGNEMENT ET TRANSMISSION\u00a0\u00bb title_level=\u00a0\u00bbh2″ title_font_size=\u00a0\u00bb32px\u00a0\u00bb title_font_size_tablet=\u00a0\u00bb28px\u00a0\u00bb title_font_size_phone=\u00a0\u00bb24px\u00a0\u00bb title_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][\/et_pb_heading][et_pb_text text_font_size=\u00a0\u00bb18px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb17px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb text_line_height=\u00a0\u00bb1.8em\u00a0\u00bb text_line_height_phone=\u00a0\u00bb1.65em\u00a0\u00bb text_line_height_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb]<\/p>\n

Le d\u00e9part d\u2019Olivier Mourgue vers la Bretagne marque une nouvelle \u00e9tape. En 1976, une exposition monographique lui est consacr\u00e9e au Mus\u00e9e des Arts D\u00e9coratifs de Nantes. La m\u00eame p\u00e9riode correspond au d\u00e9but de son enseignement \u00e0 l\u2019\u00c9cole des Beaux-Arts de Brest, o\u00f9 il restera jusqu\u2019en 2004.<\/p>\n

Ce d\u00e9placement g\u00e9ographique accompagne un d\u00e9placement de pratique. Olivier Mourgue d\u00e9veloppe progressivement un travail plus personnel autour du textile, du bois, de l\u2019aquarelle et de dispositifs po\u00e9tiques. Toiles anim\u00e9es, Bo\u00eetes \u00e0 climats, petits th\u00e9\u00e2tres, jardins imaginaires et th\u00e9\u00e2tres transportables composent un univers dans lequel l\u2019imaginaire prend une place centrale.<\/p>\n

Lors de mes recherches, j\u2019ai \u00e9galement interrog\u00e9 plusieurs de ses anciens \u00e9l\u00e8ves afin de comprendre sa mani\u00e8re d\u2019enseigner. Le t\u00e9moignage qui revient est celui d\u2019un p\u00e9dagogue attach\u00e9 \u00e0 l\u2019exp\u00e9rience, \u00e0 l\u2019observation et \u00e0 la libert\u00e9 de cr\u00e9ation. Cette dimension de transmission compl\u00e8te naturellement son parcours : apr\u00e8s avoir interrog\u00e9 l\u2019objet, l\u2019espace et l\u2019usage, il consacre une part importante de sa vie \u00e0 transmettre une mani\u00e8re de regarder et de penser.<\/p>\n

[\/et_pb_text][et_pb_heading title=\u00a0\u00bb12. UN CATALOGUE DE L\u2019\u0152UVRE ET UNE \u00c9TUDE DU MARCH\u00c9\u00a0\u00bb title_level=\u00a0\u00bbh2″ title_font_size=\u00a0\u00bb32px\u00a0\u00bb title_font_size_tablet=\u00a0\u00bb28px\u00a0\u00bb title_font_size_phone=\u00a0\u00bb24px\u00a0\u00bb title_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][\/et_pb_heading][et_pb_text text_font_size=\u00a0\u00bb18px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb17px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb text_line_height=\u00a0\u00bb1.8em\u00a0\u00bb text_line_height_phone=\u00a0\u00bb1.65em\u00a0\u00bb text_line_height_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb]<\/p>\n

Le m\u00e9moire r\u00e9alis\u00e9 entre 2008 et 2010 ne se limitait pas \u00e0 une \u00e9tude historique. Il comportait \u00e9galement un important travail de recensement de la production d\u2019Olivier Mourgue, avec l\u2019objectif de rassembler pour la premi\u00e8re fois un ensemble aussi large que possible de ses cr\u00e9ations entre 1959 et 2010 : mobilier, luminaires, projets d\u2019espace, prototypes, recherches et \u0153uvres artistiques.<\/p>\n

Une \u00e9tude du march\u00e9 compl\u00e9tait cette recherche. Environ 250 r\u00e9sultats de ventes publiques entre 1997 et ao\u00fbt 2010 avaient \u00e9t\u00e9 recens\u00e9s \u00e0 partir d\u2019Artprice, Artnet, auction.fr, de la Gazette Drouot, des catalogues de ventes et des archives de maisons comme Sotheby\u2019s, Artcurial, Millon, Cornette de Saint Cyr ou Tajan.<\/p>\n

Cette \u00e9tude montrait d\u00e9j\u00e0 l\u2019\u00e9crasante domination de Djinn dans la perception commerciale de l\u2019\u0153uvre d\u2019Olivier Mourgue, alors m\u00eame que sa production et ses recherches \u00e9taient beaucoup plus diversifi\u00e9es. C\u2019est pr\u00e9cis\u00e9ment l\u2019un des objectifs de cette page : r\u00e9\u00e9quilibrer cette perception.<\/p>\n

[\/et_pb_text][et_pb_heading title=\u00a0\u00bb13. DIZAGN RESEARCH \u2014 2026″ title_level=\u00a0\u00bbh2″ title_font_size=\u00a0\u00bb32px\u00a0\u00bb title_font_size_tablet=\u00a0\u00bb28px\u00a0\u00bb title_font_size_phone=\u00a0\u00bb24px\u00a0\u00bb title_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][\/et_pb_heading][et_pb_text text_font_size=\u00a0\u00bb18px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb17px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb text_line_height=\u00a0\u00bb1.8em\u00a0\u00bb text_line_height_phone=\u00a0\u00bb1.65em\u00a0\u00bb text_line_height_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb]<\/p>\n

Seize ans apr\u00e8s la soutenance, ce travail m\u00e9rite d\u2019\u00eatre r\u00e9ouvert. De nouvelles archives ont circul\u00e9, certaines \u0153uvres ont chang\u00e9 de statut, les institutions ont enrichi leurs fonds et le march\u00e9 d\u2019Olivier Mourgue a consid\u00e9rablement \u00e9volu\u00e9.<\/p>\n

DIZAGN Research a donc vocation \u00e0 devenir le prolongement vivant de cette recherche : mise \u00e0 jour des r\u00e9f\u00e9rences, v\u00e9rification des dates, documentation des mod\u00e8les, \u00e9tude des provenances, nouvelles donn\u00e9es de march\u00e9 et d\u00e9veloppement progressif d\u2019un corpus iconographique juridiquement s\u00e9curis\u00e9.<\/p>\n

Cette page n\u2019a pas vocation \u00e0 remplacer le m\u00e9moire original. Elle en constitue une lecture \u00e9ditoriale, con\u00e7ue pour rendre accessible un travail de recherche de long terme et remettre en lumi\u00e8re la richesse d\u2019une \u0153uvre qui demeure encore partiellement m\u00e9connue.<\/p>\n

[\/et_pb_text][et_pb_heading title=\u00a0\u00bb\u00c0 TERME\u00a0\u00bb title_level=\u00a0\u00bbh3″][\/et_pb_heading][et_pb_text text_font_size=\u00a0\u00bb16px\u00a0\u00bb text_line_height=\u00a0\u00bb1.8em\u00a0\u00bb]<\/p>\n

Chronologie synth\u00e9tique 1939\u20132026
Catalogue s\u00e9lectif des \u0153uvres et mod\u00e8les
Bibliographie comment\u00e9e
Archives et sources primaires
Olivier Mourgue chez DIZAGN
Mise \u00e0 jour du march\u00e9 2010\u20132026
Version anglaise int\u00e9grale<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

Recherche de Master II en Histoire de l\u2019Art \u2014 Universit\u00e9 Paris IV\u2013Sorbonne \u2014 2008\u20132010Thibault Lannuzel \u2014 sous la direction de Jean-Louis GailleminOlivier Mourgue, 1984. Catalogue Airborne. Droits r\u00e9serv\u00e9s \u2014 photographe \u00e0 identifier.Olivier Mourgue occupe une place singuli\u00e8re dans l\u2019histoire du design fran\u00e7ais de l\u2019apr\u00e8s-guerre. Son nom reste souvent associ\u00e9 \u00e0 la s\u00e9rie Djinn, dessin\u00e9e au […]<\/p>\n","protected":false},"author":2,"featured_media":2897,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-2885","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\nOlivier Mourgue \u2014 \u00c0 la recherche du r\u00eave | DIZAGN<\/title>\n<meta name=\"description\" content=\"Recherche de Thibault Lannuzel consacr\u00e9e \u00e0 Olivier Mourgue : archives, Airborne, Djinn, habitat, mobilit\u00e9 et design fran\u00e7ais des ann\u00e9es 1960\u20131970.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/dizagn.fr\/en\/recherche-olivier-mourgue\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" 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