{"id":2929,"date":"2026-09-16T14:03:37","date_gmt":"2026-09-16T12:03:37","guid":{"rendered":"https:\/\/dizagn.fr\/?page_id=2929"},"modified":"2026-09-16T14:51:30","modified_gmt":"2026-09-16T12:51:30","slug":"faire-generation","status":"publish","type":"page","link":"https:\/\/dizagn.fr\/en\/faire-generation\/","title":{"rendered":"Faire g\u00e9n\u00e9ration \u2014 \u00e9coles, ateliers et r\u00e9seaux du design fran\u00e7ais"},"content":{"rendered":"

[et_pb_section fb_built=\u00a0\u00bb1″ background_color=\u00a0\u00bb#f4f0e7″ custom_padding=\u00a0\u00bb85px|6%|75px|6%|false|false\u00a0\u00bb custom_padding_tablet=\u00a0\u00bb65px|5%|60px|5%|false|false\u00a0\u00bb custom_padding_phone=\u00a0\u00bb50px|5%|45px|5%|false|false\u00a0\u00bb custom_padding_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][et_pb_row width=\u00a0\u00bb90%\u00a0\u00bb max_width=\u00a0\u00bb1180px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_text text_font=\u00a0\u00bbGeorgia||||||||\u00a0\u00bb 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\u00bb1.85em\u00a0\u00bb header_1_font_size=\u00a0\u00bb50px\u00a0\u00bb header_1_font_size_tablet=\u00a0\u00bb40px\u00a0\u00bb header_1_font_size_phone=\u00a0\u00bb32px\u00a0\u00bb header_1_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb header_1_letter_spacing=\u00a0\u00bb2px\u00a0\u00bb]<\/p>\n

G\u00c9N\u00c9RATION FORMES UTILES<\/a> \/ RECHERCHE<\/p>\n

FAIRE G\u00c9N\u00c9RATION<\/h1>\n

\u00c9COLES, ATELIERS ET R\u00c9SEAUX DU DESIGN FRAN\u00c7AIS<\/p>\n

Une g\u00e9n\u00e9ration ne se d\u00e9cr\u00e8te pas. Elle se reconna\u00eet dans des parcours qui se croisent, des ma\u00eetres communs, des lieux de formation, des bureaux d\u2019\u00e9tudes, des amiti\u00e9s et des occasions r\u00e9p\u00e9t\u00e9es de travailler ensemble. C\u2019est dans ce faisceau de relations que se construit la G\u00e9n\u00e9ration Formes Utiles.<\/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#f4f0e7″ custom_padding=\u00a0\u00bb0px|6%|70px|6%|false|false\u00a0\u00bb custom_padding_phone=\u00a0\u00bb0px|5%|45px|5%|false|false\u00a0\u00bb custom_padding_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][et_pb_row width=\u00a0\u00bb90%\u00a0\u00bb max_width=\u00a0\u00bb1180px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb1_2″][et_pb_image src=\u00a0\u00bbhttps:\/\/dizagn.fr\/wp-content\/uploads\/2026\/09\/Pierre-Paulin-\u2014-stand-Foyer-daujourdhui-\u2014-1953-\u2014-capture-de-travail.png\u00a0\u00bb alt=\u00a0\u00bbPierre Paulin, stand auto\u00e9dit\u00e9, section Foyer d\u2019aujourd\u2019hui, 1953″ align=\u00a0\u00bbcenter\u00a0\u00bb admin_label=\u00a0\u00bbArchive \u2014 Pierre Paulin \u2014 stand 1953″][\/et_pb_image][et_pb_text text_font=\u00a0\u00bbArial||||||||\u00a0\u00bb text_font_size=\u00a0\u00bb11px\u00a0\u00bb text_line_height=\u00a0\u00bb1.55em\u00a0\u00bb text_text_color=\u00a0\u00bb#6f6a62″ custom_margin=\u00a0\u00bb12px||||false|false\u00a0\u00bb]<\/p>\n

Pierre Paulin, stand en auto\u00e9dition, section \u00ab Foyer d\u2019aujourd\u2019hui \u00bb, 1953. D\u00e9cor d\u2019Aujourd\u2019hui<\/em>, n\u00b078, 1953. Cr\u00e9dit d\u00e9finitif \u00e0 confirmer.<\/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\/Pierre-Guariche-\u2014-stand-Galerie-MAI-\u2014-1953-\u2014-capture-de-travail.png\u00a0\u00bb alt=\u00a0\u00bbPierre Guariche, stand Galerie MAI, section Foyer d\u2019aujourd\u2019hui, 1953″ align=\u00a0\u00bbcenter\u00a0\u00bb admin_label=\u00a0\u00bbArchive \u2014 Pierre Guariche \u2014 stand 1953″][\/et_pb_image][et_pb_text text_font=\u00a0\u00bbArial||||||||\u00a0\u00bb text_font_size=\u00a0\u00bb11px\u00a0\u00bb text_line_height=\u00a0\u00bb1.55em\u00a0\u00bb text_text_color=\u00a0\u00bb#6f6a62″ custom_margin=\u00a0\u00bb12px||||false|false\u00a0\u00bb]<\/p>\n

Pierre Guariche, stand, \u00e9dition Galerie MAI, section \u00ab Foyer d\u2019aujourd\u2019hui \u00bb, 1953. D\u00e9cor d\u2019Aujourd\u2019hui<\/em>, n\u00b078, 1953. Cr\u00e9dit d\u00e9finitif \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#fffdf8″ custom_padding=\u00a0\u00bb85px|6%|60px|6%|false|false\u00a0\u00bb custom_padding_phone=\u00a0\u00bb50px|5%|40px|5%|false|false\u00a0\u00bb custom_padding_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][et_pb_row width=\u00a0\u00bb74%\u00a0\u00bb width_phone=\u00a0\u00bb90%\u00a0\u00bb width_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb max_width=\u00a0\u00bb930px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_text text_font=\u00a0\u00bbGeorgia||||||||\u00a0\u00bb 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\u00bb1.9em\u00a0\u00bb header_2_font_size=\u00a0\u00bb19px\u00a0\u00bb header_2_font_size_phone=\u00a0\u00bb18px\u00a0\u00bb header_2_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb header_2_letter_spacing=\u00a0\u00bb2px\u00a0\u00bb]<\/p>\n

NI \u00c9COLE, NI MOUVEMENT<\/h2>\n

Le choix m\u00eame du terme \u00ab g\u00e9n\u00e9ration \u00bb est essentiel. Les cr\u00e9ateurs r\u00e9unis sous l\u2019appellation G\u00e9n\u00e9ration Formes Utiles ne fondent ni manifeste commun, ni association durable. Leur coh\u00e9rence se lit autrement : ils sont proches par l\u2019\u00e2ge, vivent les m\u00eames transformations \u00e9conomiques et sociales, fr\u00e9quentent les m\u00eames \u00e9coles, passent par les m\u00eames bureaux d\u2019\u00e9tudes et se retrouvent dans les m\u00eames salons.<\/p>\n

Cette proximit\u00e9 produit moins un style uniforme qu\u2019une communaut\u00e9 de principes : rigueur du dessin, \u00e9conomie de moyens, lisibilit\u00e9 constructive, justesse des mat\u00e9riaux, attention port\u00e9e \u00e0 l\u2019ergonomie et volont\u00e9 de penser des mod\u00e8les destin\u00e9s \u00e0 la s\u00e9rie.<\/p>\n

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APPRENDRE<\/h2>\n

L\u2019\u00c9cole nationale sup\u00e9rieure des Arts d\u00e9coratifs joue un r\u00f4le majeur. Sous la direction de L\u00e9on Moussinac, l\u2019\u00e9tablissement forme des \u00ab d\u00e9corateurs constructeurs \u00bb et des \u00ab cr\u00e9ateurs de mod\u00e8les \u00bb. Louis Sognot, Jacques Dumond, Ren\u00e9 Gabriel, \u00c9tienne-Henri Martin ou Maxime Old participent \u00e0 un enseignement o\u00f9 le dessin, la construction du meuble et l\u2019architecture int\u00e9rieure sont pens\u00e9s dans une m\u00eame continuit\u00e9.<\/p>\n

Alain Richard, Andr\u00e9 Monpoix et Pierre Guariche se c\u00f4toient dans cet environnement. D\u2019autres trajectoires passent par l\u2019\u00c9cole des Arts appliqu\u00e9s ou Camondo, mais les principes de formation restent proches : comprendre la construction, ma\u00eetriser le d\u00e9tail, travailler les proportions et pr\u00e9parer le passage vers l\u2019industrie.<\/p>\n

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TRANSMETTRE<\/h2>\n

La g\u00e9n\u00e9ration se construit \u00e9galement au contact de ses a\u00een\u00e9s. Ren\u00e9 Gabriel, Marcel Gascoin et Jacques Dumond ne sont pas seulement des r\u00e9f\u00e9rences th\u00e9oriques : leurs ateliers sont des lieux de formation professionnelle o\u00f9 les jeunes cr\u00e9ateurs confrontent le dessin \u00e0 la fabrication, aux contraintes du logement et aux r\u00e9alit\u00e9s \u00e9conomiques de la s\u00e9rie.<\/p>\n

Le bureau de Marcel Gascoin, l\u2019ARHEC, devient ainsi l\u2019un des grands laboratoires de cette modernit\u00e9. Michel Mortier, Joseph-Andr\u00e9 Motte, Pierre Guariche et d\u2019autres jeunes cr\u00e9ateurs y d\u00e9couvrent une pratique o\u00f9 mobilier, rangement et am\u00e9nagement de l\u2019habitat sont con\u00e7us comme un syst\u00e8me coh\u00e9rent.<\/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#f4f0e7″ custom_padding=\u00a0\u00bb0px|6%|70px|6%|false|false\u00a0\u00bb custom_padding_phone=\u00a0\u00bb0px|5%|45px|5%|false|false\u00a0\u00bb custom_padding_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][et_pb_row width=\u00a0\u00bb82%\u00a0\u00bb width_phone=\u00a0\u00bb90%\u00a0\u00bb width_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb max_width=\u00a0\u00bb980px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_image src=\u00a0\u00bbhttps:\/\/dizagn.fr\/wp-content\/uploads\/2026\/09\/Stand-ARP-1956-\u2014-capture-de-travail.png\u00a0\u00bb alt=\u00a0\u00bbStand ARP, Airborne, Disderot, Minvielle et Steiner, 1956″ align=\u00a0\u00bbcenter\u00a0\u00bb admin_label=\u00a0\u00bbArchive \u2014 Stand ARP \u2014 1956″][\/et_pb_image][et_pb_text text_font=\u00a0\u00bbArial||||||||\u00a0\u00bb text_font_size=\u00a0\u00bb11px\u00a0\u00bb text_line_height=\u00a0\u00bb1.55em\u00a0\u00bb text_text_color=\u00a0\u00bb#6f6a62″ custom_margin=\u00a0\u00bb12px||||false|false\u00a0\u00bb]<\/p>\n

A.R.P., Airborne, Disderot, Minvielle et Steiner \u00e9diteurs, 1956. Photo N\/B, Archives Jean Darvogne\u2013Huchers Minvielle, Villeneuve-au-Ch\u00eane. Fichier num\u00e9ris\u00e9 d\u00e9finitif \u00e0 substituer apr\u00e8s validation.<\/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#fffdf8″ custom_padding=\u00a0\u00bb85px|6%|60px|6%|false|false\u00a0\u00bb custom_padding_phone=\u00a0\u00bb50px|5%|40px|5%|false|false\u00a0\u00bb custom_padding_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][et_pb_row width=\u00a0\u00bb74%\u00a0\u00bb width_phone=\u00a0\u00bb90%\u00a0\u00bb width_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb max_width=\u00a0\u00bb930px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_text text_font=\u00a0\u00bbGeorgia||||||||\u00a0\u00bb 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\u00bb1.9em\u00a0\u00bb header_2_font_size=\u00a0\u00bb19px\u00a0\u00bb header_2_font_size_phone=\u00a0\u00bb18px\u00a0\u00bb header_2_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb header_2_letter_spacing=\u00a0\u00bb2px\u00a0\u00bb]<\/p>\n

LES SALONS COMME SC\u00c8NE PUBLIQUE<\/h2>\n

Une fois form\u00e9s et progressivement install\u00e9s \u00e0 leur compte, ces jeunes cr\u00e9ateurs doivent se rendre visibles. Deux manifestations jouent un r\u00f4le d\u00e9cisif : le Salon de la Soci\u00e9t\u00e9 des artistes d\u00e9corateurs et le Salon des arts m\u00e9nagers.<\/p>\n

Ces rendez-vous r\u00e9unissent conception, \u00e9dition, promotion et diffusion. Ils permettent de pr\u00e9senter des prototypes, d\u2019obtenir des r\u00e9compenses, de rencontrer fabricants et \u00e9diteurs et d\u2019exposer la modernit\u00e9 domestique au grand public. La section Formes Utiles, associ\u00e9e \u00e0 l\u2019h\u00e9ritage de l\u2019UAM, r\u00e9sume particuli\u00e8rement bien cette volont\u00e9 de d\u00e9fendre un juste \u00e9quilibre entre forme, fonction et usage.<\/p>\n

\u00c0 mesure que les \u00e9changes europ\u00e9ens se d\u00e9veloppent, la Triennale de Milan et les Expositions universelles offrent \u00e0 ces designers un espace international et renforcent leur visibilit\u00e9.<\/p>\n

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\u00c9COLES<\/strong>
Arts d\u00e9coratifs \u00b7 Arts appliqu\u00e9s \u00b7 Camondo<\/p>\n

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ATELIERS<\/strong>
Ren\u00e9 Gabriel \u00b7 Marcel Gascoin \/ ARHEC \u00b7 Jacques Dumond<\/p>\n

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SC\u00c8NES<\/strong>
SAD \u00b7 Salon des arts m\u00e9nagers \u00b7 Formes Utiles \u00b7 Triennale de Milan<\/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#fffdf8″ custom_padding=\u00a0\u00bb85px|6%|70px|6%|false|false\u00a0\u00bb custom_padding_phone=\u00a0\u00bb50px|5%|45px|5%|false|false\u00a0\u00bb custom_padding_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb][et_pb_row width=\u00a0\u00bb74%\u00a0\u00bb width_phone=\u00a0\u00bb90%\u00a0\u00bb width_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb max_width=\u00a0\u00bb930px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_text text_font=\u00a0\u00bbGeorgia||||||||\u00a0\u00bb 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\u00bb1.9em\u00a0\u00bb header_2_font_size=\u00a0\u00bb19px\u00a0\u00bb header_2_font_size_phone=\u00a0\u00bb18px\u00a0\u00bb header_2_font_size_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb header_2_letter_spacing=\u00a0\u00bb2px\u00a0\u00bb]<\/p>\n

DU R\u00c9SEAU \u00c0 LA PROFESSION<\/h2>\n

Ces r\u00e9seaux communs expliquent pourquoi les carri\u00e8res se croisent si souvent. Les m\u00eames noms r\u00e9apparaissent chez les \u00e9diteurs, dans les collectifs, les concours, les salons et les commandes publiques. Groupe 4 puis l\u2019A.R.P. incarnent cette logique de coop\u00e9ration, mais le ph\u00e9nom\u00e8ne est plus large que ces seules signatures collectives.<\/p>\n

Ce qui se construit dans les ann\u00e9es 1950 est aussi une nouvelle identit\u00e9 professionnelle. Le cr\u00e9ateur n\u2019est plus seulement d\u00e9corateur : il devient l\u2019interm\u00e9diaire entre usage, mat\u00e9riau, fabrication, industrie et espace. C\u2019est dans ce passage que se dessine progressivement le m\u00e9tier de designer.<\/p>\n

Parcours reli\u00e9s :<\/strong> Pierre Guariche<\/a> \u00b7 Joseph-Andr\u00e9 Motte<\/a> \u00b7 Michel Mortier<\/a> \u00b7 Andr\u00e9 Monpoix<\/a> \u00b7 Pierre Paulin<\/a> \u00b7 Alain Richard<\/a> \u00b7 Ren\u00e9-Jean Caillette<\/a> \u00b7 Janine Abraham & Dirk-Jan Rol<\/a> \u00b7 Antoine Philippon & Jacqueline Lecoq<\/a> \u00b7 A.R.P.<\/a><\/p>\n

\u2190 Retour \u00e0 G\u00e9n\u00e9ration Formes Utiles<\/a><\/p>\n

Sources de travail : Thibault Lannuzel, G\u00e9n\u00e9ration Formes Utiles \u2014 \u00c9tude d\u2019un groupe de designers en France, 1945-1973<\/em>, th\u00e8se de doctorat, Universit\u00e9 Paris IV\u2013Paris-Sorbonne, 2011\u20132016. Brouillon \u00e9ditorial non publi\u00e9.<\/p>\n

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G\u00c9N\u00c9RATION FORMES UTILES \/ RECHERCHEFAIRE G\u00c9N\u00c9RATION\u00c9COLES, ATELIERS ET R\u00c9SEAUX DU DESIGN FRAN\u00c7AISUne g\u00e9n\u00e9ration ne se d\u00e9cr\u00e8te pas. Elle se reconna\u00eet dans des parcours qui se croisent, des ma\u00eetres communs, des lieux de formation, des bureaux d\u2019\u00e9tudes, des amiti\u00e9s et des occasions r\u00e9p\u00e9t\u00e9es de travailler ensemble. C\u2019est dans ce faisceau de relations que se construit la […]<\/p>\n","protected":false},"author":2,"featured_media":0,"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-2929","page","type-page","status-publish","hentry"],"yoast_head":"\nFaire g\u00e9n\u00e9ration : \u00e9coles et r\u00e9seaux du design fran\u00e7ais | DIZAGN<\/title>\n<meta name=\"description\" content=\"\u00c9coles, ateliers, ARHEC, salons et r\u00e9seaux : comment s\u2019est constitu\u00e9e la G\u00e9n\u00e9ration Formes Utiles dans le design fran\u00e7ais d\u2019apr\u00e8s-guerre.\" \/>\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\/faire-generation\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta 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