[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-liaigre-cultural-anchorages":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":185},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":180,"matched_pages":181,"match_count":182,"two_pages":183,"show_text":184},21200,"Cultural Anchorages","liaigre-cultural-anchorages","\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F8f\u002Ff518fbb156cab66d419d4b59ba8157-28d1e2e6dd.pdf","Liaigre",2199,"liaigre","161.3 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177],{"image":7,"text":15,"number":16},"LIAIGRE\nSOPHISTICATED SIMPLICITY\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.2.png","CULTURAL ANCHORAGES\nTextes par Françoise-Claire Prodhon\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.3.png","FRENCH 18TH CENTURY\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.4.png","18ème siècle français, une période cruciale dans l'histoire du mobilier \nFrench 18th Century, a crucial period in the history of furniture \nThe 18th Century is a century of many paradoxes that opens with the \nausterity of the style of Louis XIII. Then from the reign of Louis XIV \n(1660-1715), we head towards a creative profusion conﬁrmed under \nthe reign of Louis XV. It comes to a peak with what will be called the \nLouis XVI style (from 1774 to the Revolution of 1789), during Louis \nXVI’s reign. \nIt is a century in which the French arts and crafts take on summits of \nreﬁnement and craftsmanship, supporting an art of living which is \nundoubtedly reserved for a minority but which serves as a laboratory \nfor a deeper reﬂection on what the habitat, its design and furnishings \nas a whole must offer. \nC'est un siècle tout en paradoxes qui s'ouvre avec l'austérité du \nstyle Louis XIII, puis à partir du règne de Louis XIV (1660-1715), \ns'achemine vers un foisonnement créatif qui se conﬁrme sous le \nrègne de Louis XV et connait une véritable apogée avec ce que l'on \nappellera le style Louis XVI ( de 1774 à la Révolution de 1789 ) sous \nle règne de ce même roi. \nUn siècle durant lequel l'artisanat d'art français tutoie des sommets \nde rafﬁnement et de savoir-faire mis au service d'un art de vivre, \ncertes réservé à une minorité mais qui sert de laboratoire à une \nréﬂexion plus profonde sur ce que doivent offrir l'habitat, ses \naménagements et l'ameublement dans son ensemble.  \n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.5.png","VUE D’UNE BANQUETTE RECOURBÉE \nVIEW OF A CURVED BENCH\nDÉTAIL D’UN BRONZE D’ANGLE \nDETAIL OF AN ANGLE IN BRONZE\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.6.png","L’invention d’un art de vivre\nThe invention of an art of living\nThe French 18th century invented the notion of comfort in absolute \nluxury, multiplying the kinds of seats and tables destined for all \nkinds of uses and temporalities. This is how a lot of chairs such as \nthe Bergère parlor chair, the loveseat, the sofa and the daybed were \ncreated. Their seats and backrests offer ideal ergonomics for work, \nembroidery, board games, reading, rest, and receptions. \nThe same goes for the different table models: work or game tables, \nconsoles that furnish entrances halls and reception areas such as \ndining rooms. We must also mention desks, writing desks, women’s \nwriting desks, side tables, dressing tables and chests of draws.\u2028\nA whole domestic universe is born, carried by the creative \ninspiration of some of the great French cabinetmakers such as: \nRiesener, Roentgen, Delanois, Leleu, Wesweiler and the Jacobs who \nsign the king’s furniture as well as the furniture for important \nmembers of the court,. Their creations will be copied by some \nprestigious houses of the Faubourg Saint Antoine in Paris, notably \nGouffé and Rinck, for quite some time until the end of the 20th \ncentury.\nDans un luxe absolu le 18ème siècle français invente la notion de \nconfort, multipliant (entre autres) les typologies de sièges et de \ntables aﬁn de répondre à toutes sortes  d'usages et de temporalités. \nC'est ainsi que sont créés nombre de chaises, bergères, causeuses, \ncanapés, méridiennes dont les assises et dossiers offrent \nl'ergonomie idéale pour le travail, les ouvrages de dame, les jeux de \nsociété, la lecture, le repos, les réceptions.  \nIl en va de même avec la déclinaison des différents modèles de \ntables  : tables à ouvrage ou à jeux, consoles qui meublent les \npièces d'accueil et de réception comme certaines salles à manger. \nSans oublier les bureaux, secrétaires, et bureaux de dames, \nguéridons, coiffeuses et commodes.... \nTout un univers domestique voit le jour, porté par l'inspiration \ncréative de quelques grands ébénistes français parmi lesquels  : \nRiesener, Roentgen, Delanois, Leleu, Wesweiler et autres Jacob qui \nsignent le mobilier du roi et des grands de la cour, et dont les \ncréations seront longtemps copiées jusqu'à la ﬁn du 20ème siècle \npar quelques prestigieuses maisons du faubourg Saint Antoine à \nParis, notamment Gouffé et Rinck. \n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.7.png","In traditional carpentry, the furniture frames are generally made of \nbeech or walnut whilst the cabinet structures are made of pine or \noak before being paneled with mahogany, amaranth and violet \nwood veneers, ...\u2028\nFor the decoration of these pieces, the cabinetmakers and their \nworkshops let their imagination ﬂow and develop new techniques \nseeking inspiration from know-how from the other side of the world, \nThis is how the technique of lacquer invented in the Far East is \ndeveloped in European arts and crafts. Marquetry is enrichened by \nnew developments (Boulle marquetry named after the \ncabinetmakers who develop it), straw marquetry, but also upholstery \nthat consists of covering different pieces of furniture (writing desk \ntops, desk interiors, etc.) or the interior of small objects (especially \nboxes) made of Morocco leather, shagreen, or Galuchat.  \nSome exceptional pieces of furniture are decorated with \nporcelain plates from the Royal Manufacture of Sèvres.  The \nwrought iron is used to imitate the antique style.\u2028\nSi dans la menuiserie traditionnelle la carcasse des meubles est le \nplus souvent réalisées en hêtre ou en noyer, les pièces d'ébénisterie \nsont fabriqués en sapin ou en chêne pour les structures, avant d'être \nhabillés de placages d'acajou, d'amarante, de bois de violette, ... \nPour le décor de ces pièces, les ébénistes et leurs ateliers donnent \nlibre cours à leur imagination mettant au point de nouvelles \ntechniques ou s'inspirant de savoir-faire venus du bout du monde, \nc'est ainsi que se développe dans l'artisanat d'art européen la \ntechnique de la laque inventée en extrême orient. La marqueterie \ns'enrichit de nouveaux développements (marqueterie Boulle du \nnom des ébénistes qui la mettent au point), marqueterie de paille, \nmais aussi gainerie d'ameublement qui consiste à habiller différents \nmeubles (dessus de bureaux, intérieurs de secrétaires, etc.) ou \nl'intérieur de petits objets (notamment des boites) de maroquin, de \nchagrin ou de galuchat.  \nCertains meubles d'exception sont décorés de plaques de \nporcelaine de la Manufacture Royale de Sèvres. Le fer forgé quant à \nlui est utilisé pour imiter le style antique.  \n\u2028\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.8.png","The upholstery of the seats goes from simple weaves, to precious \nsilks or velvet. These different upholsteries can be adapted to the \nseasons and offer winter and summer options. \nAs for the durability of the 18th century style, it is particularly the \nperiod known as Louis XVI that will have the most inﬂuence on the \nhistory of furniture, thanks to its modern elegance.  \nL'habillage des siège, va du simple cannage, aux garnitures faites \ndans de précieuses soieries ou velours, ces différentes garnitures \npouvant répondre aux besoins dictés par les saisons et proposer \nhabillages d'hiver et d'été. \nQuant à la pérennité de ce style 18 ème, c'est de loin la période dite \nLouis XVI qui à la faveur de son élégance moderne aura le plus \nd'inﬂuence sur l'histoire du mobilier.  \n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.9.png","TRAVAIL DU CUIR  \nLEATHER WORK \nTAPISSERIE DE SOIE ET DE VELOUR  \nSILK AND VELVET ULPHOSTERY\nORNEMENT DU MOBILIER \nFURNITURE ORNAMENT\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.10.png","Des éléments de langage inspirés de l'Antiquité\nElements of language inspired by antiquity\nIf the Louis XV period advocates a reﬁnement linked to the \nexuberance of ornaments, the following period returns to greater \nprecision. The Louis XVI style opposes the curves and counter-curves \nof the Rocaille or Rococo period, with clean lines and a return to \nclassicism. The updating of the remains of Herculaneum in 1738 and \nthen of Pompeii in 1748 fascinated architects, decorators, painters \nand sculptors.\u2028\nIn France the architects Gabriel, Ledoux, Boullée adopt a neoclassical \nstyle incorporating elements inspired by the Greco-Roman culture \nand the harmony of proportions: columns, pediments, and \nporticos.  This architectural vocabulary applies to furniture with a \nstructure that adopts rectilinear and geometric forms from \nneoclassicism.\u2028\nThe base of the furniture revives some elements of ancient vocabulary \nsuch as ﬂuted legs and square columns.  The ornamental motifs \nrespond to this sobriety drawing their inspiration from a vegetal \nrepertoire (acanthus or laurel leaves) or ancient themes (knot, festoon \nor drapery). \nSi la période Louis XV prône un rafﬁnement lié à l'exubérance de \nl'ornement, la période qui suit revient à une plus grande rigueur. \nAux courbes et contrecourbes du style rocaille ou rococo, le style \nLouis XVI oppose les lignes pures d'un retour au classicisme. La \nmise à jour des vestiges d'Herculanum en 1738, puis de Pompéi en \n1748 passionne architectes,  décorateurs, peintres et sculpteurs. \nEn France les architectes Gabriel, Ledoux, Boullée adoptent un style \nnéoclassique  incorporant des éléments inspirés par la culture \ngréco-romaine : colonnes, frontons, portiques, tout en s'inspirant de \nl'harmonie des proportions de l'architecture antique. Ce \nvocabulaire architectural s'applique au mobilier dont les structures \nadoptent formes rectilignes et géométriques venues du \nnéoclassicisme. \nLe piétement des meubles reprend certains éléments du \nvocabulaire antique  : pied cannelé, colonnette carrée. Les motifs \nornementaux répondent à cette sobriété puisant leur inspiration \ndans le répertoire végétal (feuilles d'acanthe ou de laurier) ou les \nthèmes antiques (nœud, feston ou draperie). \n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.11.png","The French Revolution and the Empire style a few years later, \ncomply with these same inspirations. The fascination for the Roman \nrepublic favored a taste for ancient forms which inﬂuenced all areas \nof creation, from architecture to furniture and fashionable decorative \narts. \nLa Révolution Française et quelques années plus tard le style Empire \nse confortent dans ces inspirations, la fascination exercée par la \nrépublique romaine allant de pair avec ce goût pour les formes \nantiques qui investissent tout le champ de la création de \nl'architecture au mobilier, et des arts décoratifs à la mode. \n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.12.png","FAUTEUIL SAINT-GERMAIN \nSAINT-GERMAIN ARMCHAIR\nCONSOLE PARCHEMIN \nPARCHEMIN CONSOLE\nCONSOLE DOGUE \nDOGUE CONSOLE\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.13.png","De l'inﬂuence du style Louis XVI sur la modernité\nThe inﬂuence of the Louis XVI style on modernity\nForgotten throughout the 19th century, the Louis XVI style inspired \nsome of the greatest decorators of the 1920s-30s such as Ruhlmann, \nFrank, Ingrand, Dupré Lafon or Dunand,...\u2028\nIt is not a question of their direct reinterpretation, but their view of the \nsimplicity and elegance of Louis XVI furniture, as well as the reﬁned \nchoice of materials, ﬁnishes and upholstery which profoundly \ninﬂuence their conception of furniture. \nAlabaster, leather, Galuchat leather, verre églomisé, lacquer and \nparchment. The materials used to ornate the decorators’ work require \na meticulous expertise and a technical mastery that make their \ncreations jewels in the history of the decorative arts. \nThe Louis XVI style brings comfort with its formal precision, that meets \nthe aspirations of the beginning of the 20th Century. This classical \nheritage allows them to develop a repertoire of forms that are as \ntimeless as they are modern. \nOublié durant tout le 19ème siècle, le style Louis XVI nourrit certains \ndes grands décorateurs des années 1920-30 comme Ruhlmann, \nFrank,  Ingrand,  Dupré Lafon ou Dunand,...  \nPour ces derniers il n'est pas question de réinterprétation directe, \nmais leur regard sur la simplicité et l'élégance du mobilier Louis XVI, \ntout comme sur le rafﬁnement dans le choix des matériaux, des \nﬁnitions et des habillages inﬂuence profondément leur conception \ndu mobilier. Albâtre, cuir, galuchat, verre églomisé, laque, \nparchemin, les matériaux qui habillent ou ornent les pièces de ces \ndécorateurs requièrent un savoir-faire délicat et une maitrise \ntechnique qui fait de leurs créations des ﬂeurons de l'histoire des \narts décoratifs.  \nLe style Louis XVI  conforte les uns et les autres dans une rigueur \nformelle qui répond aux aspirations de ce début de 20ème siècle, \ncet héritage classique leur permet de développer un répertoire de \nformes aussi intemporelles que modernes. \n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.14.png","CHAISE ACADEMIA \nACADEMIA CHAIR\nATHÈNES \nATHENS\nMONFAUCON CONSOLE \nCONSOLE MONFAUCON\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.15.png","Liaigre et le 18ème siècle français\nLiaigre and the French 18th century\nFor any French decorator, the knowledge of the 18th Century art of \nliving is a fundamental cultural background. At Liaigre this inspiration \npasses through the ﬁlter of the great decorators of the early 20th \ncentury, previously mentioned. There is an obvious link between the \nlate 18th Century Louis XVI furniture, the great Modernist designs of \nthe 1920s-30s and the reﬁned style developed by Christian Liaigre \nand his studio since the mid-1980s. \nOnce again, Liaigre follows in the footsteps of tradition and a state of \nmind, but not as an imitator seeking to perpetrate well-identiﬁed \nforms.  What draws Liaigre’s attention to the French 18th Century is \nprimarily “efﬁciency”. Careful thought has to be given to utility and \nbeing functional. Consequently, ergonomics is fully analyzed to \nensure comfort and freedom of movement.  How can we avoid \nspeaking about the way of associating sober lines with noble \nmaterials and sophisticated ﬁnishes, to reveal artisans that owe \neverything to a tradition strongly anchored in the 18th Century, \nenrichened with time, and innovation. The dialogue between \nprecision and luxury is synonymous with elegance. \nPour tout décorateur français cette connaissance d'un art de vivre \nissu du 18ème siècle constitue un socle culturel fondamental. Chez \nLiaigre cette inspiration passe par le ﬁltre des grands créateurs du \ndébut du 20 ème siècle cités plus haut. Il existe un lien évident entre \nce mobilier Louis XVI de la ﬁn du 18ème siècle, les grandes \ncréations Modernistes des années 1920-30 et le style épuré \ndéveloppé par Christian Liaigre et son studio depuis le milieu des \nannées 1980.  \nLà encore, Liaigre dans la lignée d'une tradition et d'un état \nd'esprit ,et non comme un imitateur cherchant à perpétrer des \nformes bien identiﬁées. Ce que Liaigre retient du 18ème siècle \nfrançais c'est d'abord une «  efﬁcacité » pensée par rapport à une \nfonction, ou plus justement un usage : cela se traduit par un souci \nd'ergonomie, qui permet d'assurer confort et liberté de \nmouvement. Et comment ne pas parler de cette manière d'associer \ndes lignes sobres à des matériaux nobles et à des ﬁnitions \nsophistiquées relevant d'un artisanat d'art redevable d'une tradition \nfortement ancrée dans le 18ème siècle et enrichie au ﬁl du temps et \ndes innovations... Ce dialogue entre rigueur et luxe étant synonyme \nd'élégance... \n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.16.png","The Liaigre style likes to deﬁne itself more as an art of living in a \nbroad sense, than as a style. Its demands and precision make it \nnecessary to consider the design of a space to the slightest detail. \nThis includes the continuation of a quest for beauty, expressed by \nthe greatest designers of the 18th Century. \nLe style Liaigre aime à se déﬁnir plus comme un art de vivre au sens \nlarge que comme un style, son exigence et sa rigueur le poussent à \nconsidérer l'aménagement d'un lieu dans ses moindres détails, en \ncela également il est le prolongement d'une quête de beauté \nexprimée par les plus grands créateurs du 18ème siècle. \n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.17.png","MUNICH \nDECORATION AND STYLING PROJECT\nNEUILLY \nLAMPE AMANDE EN BRONZE  \nAMANDE LAMP IN BRONZE\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.18.png","MODERNISM\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.19.png","Modernisme\nModernism\nLiaigre’s style which has been inspired by many sources, asserts itself \nover the years. Nurtured by an attachment to the tradition of French \ncabinet workers and arts and crafts that it constantly enrichens, and a \nreceptivity to inﬂuences from afar, whether it be distant in time or \ngeographically speaking. \nModernism, this special moment of the beginning of the 20th Century, \nduring which architecture, decorative arts, painting and sculpture are \nreinvented in a vocabulary that breaks away from the decorative and \nornamental excesses of the late 19th and early 20th centuries. It has \nbeen one of Liaigre’s main sources of inspiration and reference from \nthe very beginning. \nRiche d'inspirations multiples, le style de Liaigre s'est afﬁrmé au ﬁl \ndu temps, nourri par son ancrage dans une tradition française de \nl'ébénisterie et des métiers d'art qu'il vient sans cesse enrichir, \ncomme par son ouverture aux inﬂuences parfois lointaines, qu'il \ns'agisse d'un « lointain » chronologique ou géographique... \nLe Modernisme, ce moment particulier du début du 20ème siècle, \ndurant lequel l'architecture, les arts décoratifs, la peinture, la \nsculpture se réinventent dans un vocabulaire en rupture avec les \nexcès décoratifs ou ornementaux de la ﬁn du 19ème et du début du \n20ème siècle, compte parmi les grandes sources d'inspirations ou \nréférences de Liaigre depuis ses origines.  \n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.20.png","TABLE CONSOLE EN CHÊNE ET PLAQUAGE DE \nCHÊNE, PLATEAU RECTANGULAIRE POSÉ SUR \nDES PIEDS COURBES À PROFIL ONDULANT \nCONSOLE IN OAK AND OAK VENEER, WITH A \nRECTANGULAR TOP LAID ON CURVED FEET \nWITH UNDULATING PROFILE \nPARAVENT À SIX FEUILLES EN MARQUETERIE DE PAILLE ET PLAQUAGE DE PADOUK. \nSIX-PARTS FOLDING SCREEN IN STRAW MARQUETRY AND PADOUK VENEER \nJEAN-MICHEL FRANK, 1925\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.21.png","Qu'est ce que le Modernisme ?\nWhat is Modernism?\nThe International Exhibition of Modern Decorative and Industrial Arts, \nwhich took place in Paris in 1925, coincided with the peak of \nModernism, but this international movement began shortly before \n1910. \nIts beginnings in France were ﬁrst expressed in painting and \nsculpture: Picasso’s painting Les Demoiselles d'Avignon ( 1907) \nmarked a decisive turning point. \nThis work announces the appearance of Cubism which develops \nbetween 1907 and 1914 of which Pablo Picasso is one of the founders \n(with Georges Braque).  Cubism imposes a new vision of landscape \nand domestic space, it fragments nature and objects creating an \nimage that simultaneously reveals all aspects.  From this \nunprecedented pictorial space, the spectator most often perceives \nonly a composition constructed from lines, angles and superimposed \nplanes. \nThe cubist space develops and is built like architecture and its \naesthetic inﬂuence will very quickly go beyond the single domaine of \nart, bringing architecture and design in its wake. \nL'Exposition Internationale des arts décoratifs et industriels \nmodernes qui a lieu à Paris en 1925 correspond à l'apogée du \nModernisme, mais ce courant international voit le jour un peu avant \n1910. \nEn France, ses prémices s'expriment d'abord dans la peinture et la \nsculpture : en cela le tableau de Picasso Les Demoiselles d'Avignon \n( 1907) marque un tournant décisif.  \nCette œuvre annonce l'apparition du Cubisme qui se développe \nentre 1907 et 1914 dont Pablo Picasso est l'un des fondateurs (avec \nGeorges Braque). Le Cubisme impose une nouvelle vision du \npaysage et de l'espace domestique, il fragmente nature et objets \npour en livrer une image qui en dévoile simultanément tous les \naspects. De cet espace pictural inédit, le spectateur ne perçoit le \nplus souvent qu'une composition construite à partir de lignes, \nd'angles, de plans superposés. L'espace cubiste s'élabore, se \nconstruit comme une architecture et son inﬂuence esthétique va très \nvite dépasser le seul domaine de l'art entraînant dans son sillage \nl'architecture et le design. \n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.22.png","NEUILLY \nATHÈNES \nATHENS\nNEW DELHI \n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.23.png","Ce début de siècle est également marqué par l'inﬂuence des arts \nafricains et océaniens dont collectionneurs et artistes s'emparent \navec curiosité et admiration. La simplicité, la beauté brutaliste de \nces pièces incitent les artistes à investir une esthétique de \nl'essentiel, une réduction des formes au proﬁt d'une plus grande \nexpressivité: les sculptures de Picasso, Modigliani, Laurens, \nBrancusi, Giacometti reﬂètent ce nouvel idéal esthétique.\u2028\nAux lendemains de la guerre de 1914-18, le monde a \ndéﬁnitivement basculé dans une nouvelle ère, et les dernières feux \nde l'art Nouveau avec ses idéaux ornementaux sont déﬁnitivement \néteints. \nLes années 1920-30 voient l'avènement du style Moderniste dans \nl'architecture et les arts décoratifs. Les architectes Mallet Stevens, Le \nCorbusier, Perret imaginent des bâtiments aux volumes clairs, \ndépouillés et rectiligne, ouvrant largement les façades en créant de \ngrandes baies ou fenêtres qui font entrer la lumière. Le mobilier \ns'adapte à ces volumes structurés à cette volonté de concevoir des \nespaces offrant plus de liberté de mouvement et de confort.  \nThe beginning of the century was also marked by the inﬂuence of \nAfrican and Oceanian arts, which collectors and artists seized with \ncuriosity and admiration. The simplicity, the brutalist beauty of these \npieces encourage artists to invest in aesthetics of what is essential, a \nreduction of forms in favor of greater expressivity:  sculptures by \nPicasso, Modigliani, Laurens, Brancusi, Giacometti reﬂect this new \nideal of aesthetics. \nIn the aftermath of the 1914-18 war, the world deﬁnitively shifted \ninto a new era and the last ﬁres of Art Nouveau with its ornamental \nideals are deﬁnitively extinguished.\u2028\nThe 1920s-30s saw the emergence of the Modernist style in \narchitecture and the decorative arts. The architects Mallet Stevens, \nLe Corbusier, Perret imagine buildings with light spaces, that are \nbare and with straight lines, opening up facades by creating large \nbays or windows that let in the light. The furniture adapts to these \nvolumes structured with the intent to design spaces offering more \nfreedom to move and comfort. \n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.24.png","De nouveaux matériaux s'imposent dans l'architecture ( béton, \nmétal, verre )  et s'invitent dans le design ( tube chromé, métal plié, \nverre ) contribuant à mettre en valeur ces formes épurées imaginées \npar Robert Mallet Stevens, Le Corbusier, Charlotte Perriand, Jean \nProuvé, Pierre Chareau. De grands ensembliers comme Jean-Michel \nFrank ou Paul Dupré Lafon, Jean Dunand conçoivent pour de riches \nclients internationaux des intérieurs dans lesquels cet esprit \n«  minimaliste  » s'exprime à travers des matériaux rafﬁnés  : bois \nprécieux, parchemin, laque, mettant en œuvre des savoir-faire liés à \nl'ébénisterie du 18ème siècle ( marqueterie de paille, laque coquille \nd'oeuf, gainages de cuir ou de galuchat,...). \nL'Exposition Universelle de 1937 à Paris, marque le déclin de ce \nmouvement  \n«  progressiste» qui peu à peu recule devant la montée des \nfascismes et l'expression d'un retour à l'ordre stylistique qui fait \nl'apologie de la monumentalité et du classicisme. Il faudra attendre \nl'aube des années 1950 pour que se développent et s'épanouissent \nles grands principes du Modernisme qui continueront à nourrir un \ngrand nombre de créations dans tous les domaines bien au-delà de \ncette période et jusqu'à aujourd'hui. \nNew materials prevail in architecture (concrete, metal, glass) and are \ninvited into the design (chrome-plated tube, folded metal, glass) \nhelping to highlight the clean shapes imagined by Robert Mallet \nStevens, Le Corbusier, Charlotte Perriand, Jean Prouvé and Pierre \nChareau.  Great interior designers like Jean-Michel Frank or Paul \nDupré Lafon and,Jean Dunand create interiors for rich international \ncustomers where this «minimalist» spirit is expressed through \nreﬁned materials: precious wood, parchment, lacquer, \nimplementing the know-how of 18th century cabinetmaking (straw \nmarquetry, egg shell lacquer, leather or shagreen ...). \n\u2028\nThe Universal Exhibition of 1937 in Paris, marks the decline of the \n“progressive” movement\u2028\nwhich gradually moves back before the rise of fascism and a \ndeclaration of stylistic changes that gloriﬁes monumentality and \nclassicism. \nIt was not until the early 1950s that the major principles of \nModernism developed and ﬂourished, continuing to nourish a large \nnumber of concepts in all ﬁelds well beyond this period and until \ntoday. \n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.25.png","GUÉRIDON AQUILIN \nAQUILIN SIDE TABLE \nBANC CORDOUAN \nCORDOUAN BENCH\nNEW DELHI \n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.26.png","Liaigre et l'esprit Moderniste\nLiaigre and the Modernist spirit\nSimplicity of forms, clarity of lines, the desire to go to what is essential, \nsophisticating materials (wood, bronze, lacquer), since it originated, \nLiaigre’s style echoes and extends the aesthetic quest of some of the \ngreatest Modernist architects and decorators of the 1920s, such as \nJean-Michel Frank, Pierre Chareau or Paul Dupré Lafon. In their day, \nthey were able to imagine living spaces, pieces of furniture and \nlighting that ﬁt but also a richness of architectural details that make \nevery-day life easier. \nThis global approach to the art of living resonates particularly in the \nway Liaigre approaches its design and decoration projects, such as its \nfurniture designs or accessory lines.  The individual and his feelings \nare at the heart of this approach. This conception of architecture and \ndesign is thus one of the characteristics of Liaigre’s spirit which has \ncontributed strongly to its success. \nSimplicité des formes, clarté des lignes, volonté d'aller à l'essentiel, \nsophistication des matériaux (bois, bronze, laque), depuis ses \norigines le style de Liaigre fait écho et prolonge les recherches \nesthétiques de certains des grands architectes et décorateurs \nModernistes des années 1920 à l'exemple de Jean-Michel Frank, \nPierre Chareau ou Paul Dupré Lafon.  Ces ensembliers ont su à en \nleur temps penser des lieux de vie en imaginant les espaces, les \néléments de mobilier et les luminaires qui devaient s'y intégrer, \nmais aussi tout un luxe de détails architecturaux qui facilitent le \nquotidien. \nCette approche global d'un art de vivre résonne particulièrement \ndans la manière dont Liaigre aborde ses projets d'aménagement et \nde décoration, comme ses créations d'éléments de mobilier ou de \nlignes d'accessoires. L'individu et son ressenti sont au centre de \ncette démarche, ainsi cette conception de l'architecture et du \ndesign est-elle l'une des caractéristiques de l'esprit Liaigre et a \nfortement contribué à son succès. \n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.27.png","NEW DELHI \nFAUTEUIL ETRUSQUE \nETRUSQUE ARMCHAIR\nGUÉRIDON NAGATO \nNAGATO STOOL\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.28.png","MINIMALISM\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.29.png","Less Is More ou l'esprit du Minimalisme\nLess Is More or the spirit of minimalism \nThe aesthetic language of Liaigre is based on a solid visual culture \nas well as a great knowledge of the history of forms, far beyond the \nrepertoire of architecture and design. \nFrom these numerous inspirations, sometimes quite paradoxically \nan unidentiﬁable writing is born. \nThe Liaigre style \n  One of the components of this style crosses intentionally what is \ncalled Minimalism in the art and architecture of the 20th century … \nWhat is this about? \nLe langage esthétique de Liaigre s'appuie sur une solide culture \nvisuelle ainsi que sur une grande connaissance de l'histoire des \nformes, bien au-delà du répertoire de l'architecture et du design. \nDe ces inspirations nombreuses, parfois paradoxales est née une \nécriture tout à fait identiﬁable :  \nle style Liaigre \nL'un des ingrédients de ce style croise dans ses intentions ce que \nl'on qualiﬁe de Minimalisme dans l'art et l'architecture du 20 ème \nsiècle … \nMais de quoi s'agit-t'il ? \n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.30.png","DONALD JUDD \nFORWARD AND BACKWARD SLANT CHAIR 84, 1982\nSHIRO KURAMATA \nGLASS CHAIR, 1976\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.31.png","Aller à l'essentiel\nGetting to the essential points\nLong before the word «minimalism» was used to describe any \naesthetical trend, the desire to go to the essential is expressed in the \nwork of many avant-garde artists at the beginning of the 20th century. \nThis quest for a reﬁned design goes hand in hand with the claim for \ncreative freedom that can be summed up by the desire to move away \nfrom a supported realism. This «illusionist» realism intended to create \nsomething truer than nature and imitate reality as closely as possible \nand has been one of the major challenges of artistic creation for \ncenturies. \nBut this need dropped back with the invention of photography in \n1826. Little by little, art breaks away from constraints and develops a \ncreative ﬁeld that allows for aesthetical research that gradually frees \nitself from the question of resemblance or credibility. The beginning \nof the 20th century saw the emergence of a large number of artistic \ntrends that are equally «laboratories» of creation. Sculpture which for \ncenturies was subject to ancient models and allegorical or \ncommemorative duties, embarks on the path of an unprecedented \nmodernity.  \nBien avant que le mot « minimalisme » ne soit utilisé pour qualiﬁer \nun quelconque courant esthétique, cette volonté d'aller à l'essentiel \ns'exprime dans l'oeuvre de nombreux artistes des avant-gardes au \ndébut du 20 ème siècle. Cette quête de la forme épurée va de pair \navec la revendication d'une liberté créative que l'on peut résumer \npar le désir de s'éloigner d'un réalisme appuyé. Ce réalisme \n« illusionniste » destiné à créer plus vrai que nature et à imiter au \nplus près la réalité, est durant des siècles l'un des grands enjeux de \nla création artistique. Mais cette nécessité recule avec l'invention de \nla photographie en 1826.  \nPeu à peu, l'art se défait de cette contrainte et développe un champ \ncréatif qui autorise des recherches esthétiques qui de plus en plus \ns'affranchissent de la question du ressemblant ou du vraisemblable. \nLe début du 20ème siècle voit éclore un grand nombre de courants \nartistiques qui sont autant de « laboratoires » de création. Assujettie \ndepuis des siècles au modèle antique et aux fonctions allégoriques \nou commémoratives, la sculpture s'engage sur la voie d'une \nmodernité inédite qu'ils tentent de mettre en œuvre. \n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.32.png","The sculptor Constantin Brancusi will greatly contribute to writing \nthis new chapter to the history of design, from the years 1910 to \n1920 his creations such as the Sleeping Muse, the Rooster, then of \nthe Endless Column proceed from a radical will to privilege lines \nand their expression to the detriment of realism. \nWith an elegant design that avoids unnecessary details, he \nassociates materials related to the ancient tradition of sculpture \n(wood, marble, polished bronze). His work does not erase a memory \nof design but seeks to reconnect with the original and arouse \nemotion. The African art that began to be collected by some \nenlightened amateurs at that time, fascinates a whole generation of \nWestern artists who ﬁnd in the simple and often stylized forms of \nthese creations, the modernity they try to implement. \nAt the same time, architects, designers, and artists at the Bauhaus in \nGermany develop aesthetics of “beauty in the useful” that involves \nsimplifying lines in favor of functionality and a sense of “clarity”. \nFurniture or everyday objects get rid of all superﬂuous details to \nachieve comfort and harmony. Ludwig Mies Van der Rohe, to whom \nwe owe the principle of «less is more» takes the lead of this modern \nideal. \nLe sculpteur Constantin Brancusi va profondément contribuer à \nécrire ce nouveau chapitre de l'histoire des formes, dès les années \n1910-20 ses créations à l'exemple de la Muse Endormie, du Coq, \npuis de la Colonne sans ﬁn procèdent d'une volonté radicale de \nprivilégier la ligne et son expression au détriment du réalisme.  \nAux formes pures qui éludent tout détail inutile il associe des \nmatières liées à la tradition millénaire de la sculpture (bois, marbre, \nbronze poli vif). Son œuvre ne fait pas table rase d'une mémoire des \nformes, mais cherche à à renouer avec l'originel et à susciter \nl'émotion. L'art africain que commencent à collectionner quelques \namateurs éclairés à cette époque, fascine toute une génération \nd'artistes occidentaux qui trouvent dans les formes simples et \nsouvent stylisées de ces créations la modernité. \nAu même moment, architectes, designers, artistes regroupés au \nBauhaus en Allemagne développent une esthétique du « beau dans \nl'utile » qui passe par la simpliﬁcation des lignes au proﬁt de la \nfonctionnalité et d'un sentiment de « clarté ». Les bâtiments comme \nles meubles ou les objets du quotidien se défont de tout détail \nsuperﬂu dans un souci de confort et d'harmonie. Ludwig Mies Van \nder Rohe à qui l'on doit le principe du « less is more » devient l'un \ndes porte-drapeaux de cet idéal moderne.  \n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.33.png","MUNICH \nKANAGAWA \nKNOKKE \n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.34.png","Artist Piet Mondrian and architect Gerrit Rietveld were part of the De \nStill movement in the Netherlands when the same desire for novelty \nis expressed through a reduction of lines, a geometrization that \nemphasizes both functionality and comfort \nIn the 1920s, this aspiration crossed fashion. Gabrielle Chanel, who \nhas largely helped to free women’s bodies by dressing them in soft \njersey, sparkling tweed and beach pajamas, literally invents what will \nbecome one of the long-lasting concepts of fashion «the little black \ndress» in 1926, compared by the American press to the famous Ford \nModel T... The little black dress, embodies the idea of elegant \nsimplicity dismantling everything that escapes this visionary logic. \nLater in the century, precisely in the mid-1960s, American artists \nsuch as Donald Judd, Carl André, Dan Flavin, Richard Serra and \nRobert Morris questioned the excesses of Abstract Expressionism \nand Pop Art. They make a radical return to elementary geometric \nforms in painting as well as in sculpture, creating works that are \nimmediately apprehended. They fail to reply to the aesthetic criteria \nspeciﬁc to art and cause no impact or emotion. \nAux Pays-Bas autour du mouvement De Stijl auquel appartiennent \nl'artiste Piet Mondrian et l'architecte Gerrit Rietveld s'exprime ce \nmême désir de nouveauté passant par une réduction des lignes, \nune géométrisation qui privilégie à la fois la fonctionnalité et le \nconfort.  \nAu ﬁl des années 1920, cette aspiration traverse la mode. Gabrielle \nChanel qui a largement contribué à libérer le corps des femmes en \nles habillant de jersey souples, de tweed mousseux, de pyjamas de \nplages, invente littéralement ce qui deviendra l'un des concepts \npérennes de la mode « la petite robe noire » en 1926, comparée par \nla presse américaine à la fameuse Ford Model T... La petite robe \nnoire, incarne cette idée d'une simplicité élégante démodant \nlittéralement tout ce qui échappe à cette logique visionnaire. \nPlus tard dans le siècle, précisément au milieu des années 1960, des \nartistes américains dont Donald Judd, Carl André, Dan Flavin, \nRichard Serra ou Robert Morris remettent en cause les excès de \nl'Expressionnisme abstrait et du Pop art. Ils opèrent un retour radical \naux formes géométriques élémentaires dans la peinture comme \ndans la sculpture, travaillant sur des oeuvres qui s'appréhendent \nimmédiatement, échappent aux critères esthétiques propres à l'art \net ne provoquent aucun affect ou émotion.  \n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.35.png","CANAPÉ OKA \nOKA SOFA\nMUNICH \nLAMPE CABESTAN \nCABESTAN LAMP\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.36.png","Minimal art imposes the principle that there is nothing to interpret \nbeyond what you see, which explains the expression: \"what you see \nis what you get\". However, if the objective of minimal art is the \nradical use of simple forms and raw materials (often industrially \nimplemented). It is not devoid of aesthetic intentions or seduction \nand accustoms the contemporary eye to an asceticism of lines that \nwill not fail to have an impact on the design... \nDonald Judd, artist and great theoretician of minimal art, will \nimagine some elements of furniture based on the geometrical \nshapes speciﬁc to many of his sculptures (cubes and \nparallelepipeds.). \n During the decade 1980-90, and against all odds at a time when \nstyle and excesses ﬁt together, a handful of Japanese designers \nmainly Rei Kawakubo, Yohji Yamamoto, Issey Miyake, propose a \nradically different approach to clothing. \nL'art minimal  impose le principe selon lequel il n'y a rien à \ninterpréter au delà de ce que vous voyez, qu'illustre l'expression : \n« what you see is what you get ». Pour autant, si l'objectif  de l'art \nminimal est le recours radical à des formes simples et à des \nmatériaux bruts (souvent mis en œuvre industriellement ) il n'est pas \ntotalement dénué d'intentions esthétiques ou de séduction et \nhabitue l'oeil contemporain à une ascèse des lignes qui ne sera pas \nsans inﬂuencer le design… \nDonald Judd, artiste et grand théoricien de l'art minimal imaginera \nquelques éléments de mobilier basés sur les formes géométriques \npropres à nombre de ses sculptures (cubes et parallélépipèdes.). \nDurant la décennie 1980-90, et contre toute attente à un moment \noù style et excès font bon ménage, une poignée de créateurs \njaponais principalement Rei Kawakubo, Yohji Yamamoto, Issey \nMiyake, proposent une approche radicalement différente du \nvêtement. \n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.37.png","Lines become sober, they desexualize the body, reducing the \npalette to ranges of black, white, grey, and blue. They design \nclothes like architecture, taking the body and convenience into \naccount. This may seem harsh, if we omit to add that a form of \nemotion or poetry emerges from this rigor that will echo a new \ngeneration of Belgian stylists, trained at the Antwerp school... \nAscèse des lignes, désexualisation du corps, palette réduite aux \ngammes de noirs, blancs, gris, bleus, ils conçoivent leurs vêtements \ncomme autant d'architectures répondant à celle du corps et à des \nproblématiques de fonctionnalité. Cela peut sembler sévère, si l'on \nomet d'ajouter qu'il se dégage de cette esthétique une forme \nd'émotion ou de poésie qui fera des émules dans une nouvelle \ngénération de stylistes belges, formés à l'école d'Anvers... \n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.38.png","GUÉRIDON PRASLIN \nPRASLIN SIDE TABLE\nMEUBLE BAS PAVOIS \nPAVOIS LOW CABINET\nKANAGAWA \n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.39.png","Liaigre minimaliste ? \nLiaigre minimalist ? \nIf undeniably Liaigre’s style is given the Minimalist inﬂection, ﬁrstly we \ncross vocabulary often used by those who wrote and commented on \nthe projects and creations of the House. \nSober, reserved, simple...are some of the words most often used to \ndescribe Liaigre’s style. We need to state that none of these adjectives \nis false, or betrays the spirit developed by Christian Liaigre since the \nvery beginning, which continues in the creative studio today. \nIt is also referred to as a \"style without the impact of style\" a formula \nwhich means that there is no excess of writing or gesticulation in \nLiaigre’s vocabulary. \nEverything is thought out and drawn with a view to correctness by \nalways reconciling notions of harmony and ergonomics.  \nThese delightful aesthetics, are dictated more by imperatives than \nminimalism (excess is the opposite of what the House has been \ndeveloping for 40 years), but above all by a reﬂection whose central \npoint is the human factor (use, feeling of well-being, comfort, \nsoftness). \nSi indéniablement l'on prête au style de Liaigre cette inﬂexion \nMinimaliste, cela passe d'abord par le vocabulaire souvent \nemprunté par celles et ceux qui ont écrit et commenté les projets et \nles créations de la maison. \nSobre, retenu, simple...sont quelques uns des qualiﬁcatifs les plus \nsouvent employés pour décrire le style de Liaigre, et force est \nd'afﬁrmer qu'aucun de ces adjectifs n'est faux et ne trahit l'esprit \ndéveloppé depuis ses origines par Christian Liaigre que prolonge \naujourd'hui le studio de création.  \nOn parle aussi pour le qualiﬁer d'un «  style sans effet de style  » \nformule qui signiﬁe qu'il n'y a pas dans le vocabulaire de Liaigre \nd'excès d'écriture ou de gesticulation.  \nTout est pensé et dessiné dans un souci de justesse en conciliant \nchaque fois les notions d'harmonie et d'ergonomie.  \nCette esthétique tempérée plus que minimaliste est dictée par des \nimpératifs certes esthétiques ( la surcharge est à l'opposé de ce que \nla Maison développe depuis 40 ans), mais surtout par une réﬂexion \nau centre de laquelle on trouve le facteur humain ( usage, sensation \nde bien-être, confort, douceur).  \n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F50\u002F534d1e5f7dfc048bef738555611b2a-28d1e35be6.40.png","Behind this obvious reduction of «signs», the simplicity of lines is \nalso a desire to make designs timeless, to place them in a \npermanence that spares weariness from the observer (weariness \noften produced by objects too inﬂuenced by fashion and the \nspirit of the times). \nIn this respect, Liaigre can join some of the minimalist aspirations \ndiscussed a little earlier. It is doubtlessly this state of mind that \nhas allowed many designs to stay up to date, making them icons \nof furniture and contemporary decoration. \nDerrière cette réduction évidente des «  signes  » , cette simplicité \ndes lignes se trouve aussi une volonté de donner aux créations une \nforme d'intemporalité, de les placer dans une permanence qui \npermette à ceux et celles qui les choisissent de les regarder sans \nlassitude (cette lassitude que produisent souvent les objets trop \nmarqués par les modes et l'air du temps) . \nEn cela , Liaigre peut rejoindre certaines des aspirations \nminimalistes dont il était question un peu plus haut. 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