The Liège-based firm Binario Architectes is one of the ten craft architecture firms that caviar.archi has decided to portray in film. Delphine Péters and Andrea Tenuta tell you all about their interest in architecture in front of Mister Emma’s camera. They describe their day-to-day work and practices. Quality architecture, architecture in good taste, but what does creating architecture ultimately mean?

Delphine Péters, Andrea Tenuta
Binario Architectes

www.binarioarchitectes.com
info@binarioarchitectes.com

Technical sheet of this architecture video clip
Journalist : Emma C. Dessouroux
Cameraman : Mister Emma

Editing : Emma C. Dessouroux / Cristina Dias
Direction : Emma C. Dessouroux
Production : Les Délires Productions

Translation : Strakermedia
Rereading : Serge Ryckoort / Emelire
Subtitles : Strakermedia

French Subtitles

1
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J’ai fait mes études en Italie, à Venise.

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C’est vrai qu’à la fin de mes humanités,

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j’avais une poussée qui m’amenait
à essayer de découvrir plein de choses.

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Donc, j’étais un peu indécis,
quelque part,

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et j’avais envie de découvrir
des territoires très différents entre eux,

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la communication,
le droit ou l’architecture.

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Je cherchais un métier artistique,
on va dire.

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J’aimais beaucoup dessiner, j’avais fait
les Beaux-Arts en cours du soir

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quand j’étais au lycée.

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Voilà, je voulais absolument
trouver un métier

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dans lequel je pouvais continuer
à dessiner.

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Je me souviens, la grosse partie
de la production de mes dessins d’enfance

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étaient des chantiers.

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Donc, des maisons,
des bâtiments en construction.

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Donc, à l’époque, je pense,

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même en ne sachant pas
ce que ça voulait dire,

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j’étais fasciné par le métier
du maçon, presque.

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L’architecture, pour moi en tout cas,
c’est avant tout,

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surtout dans mon métier d’architecte,

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c’est avant tout
une grande responsabilité

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par rapport à la qualité spatiale…

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que j’essaie de donner dans nos projets.

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On nous demande de plus en plus ça,

24
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de faire de l’architecture
avec peu de moyens, finalement,

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avec des budgets très limités,

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ou même avec des matériaux
de récupération.

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Je pense que justement,
cette question de l’économie de moyens,

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économie des matériaux, etc.,

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c’est vraiment quelque chose
qui peut encore plus enrichir

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l’architecture et l’espace,
et qui nous permet, justement,

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à nous, architectes, de toujours
pousser plus loin la réflexion,

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pour justement, quand même,

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faire dégager cette qualité malgré tout.

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La conception est un moment magique,

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parce qu’on ne peut pas la commander.

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C’est-à-dire que c’est
un moment de création, c’est inévitable,

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donc, ça dépend de quel contexte,
de quel projet, etc.

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Donc, ce qui est très intéressant
dans toute création,

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c’est que c’est un peu insaisissable.

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On ne se réveille pas le matin en disant :
« Maintenant, je fais ceci ou cela. »

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C’est pas possible, je veux dire,
si on a mal dormi,

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si on a la gueule de bois, etc.,
eh bien peut-être que ça ne sort pas.

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Et donc, il faut trouver, voilà,
un peu de calme, luxe et volupté

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pour essayer de saisir,

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voilà, l’instant où la bonne idée surgit.

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Mais la plus grande satisfaction,
c’est quand on commence à construire, oui.

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Je crois que je ne continuerais pas
à faire de l’architecture

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si je ne voyais pas les choses
se concrétiser.

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Vraiment, la plus grande excitation,

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c’est quand on voit les choses, oui.

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Ça, et puis, moi,
ce que j’aime aussi particulièrement,

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c’est le rapport avec les corps de métier.

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Voilà, comme moi, j’aime beaucoup
les chantiers de restauration,

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j’adore aussi échanger avec les artisans.

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Il y a une partie qui est…

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Voilà, celle-ci, là…

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  • C’est le dernier voyage qui…
  • Oui.

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Oui, elle souffre un peu des voyages.

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Je ne pense pas qu’on cherche
à avoir une patte Binario, en fait.

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Je ne pense pas
que si on regarde tous nos projets,

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on peut dire :
« Ah oui, ça c’est vraiment…

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un projet Binario », comme on dirait,
je sais pas, c’est un projet…

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de Jean Nouvel, de…

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Parce qu’on est très attentifs,
justement, à chaque fois,

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à avoir une réponse très spécifique…

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et de nouveau, je veux dire,

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avec cette question
de la restauration-réaffectation,

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c’est chaque fois tellement différent,

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les bâtiments auxquels on est confrontés,
que la réponse ne peut être

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que chaque fois différente,
particulière et spécifique,

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donc j’ai du mal à dire :

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« Tiens, notre patte c’est ça. »

English Subtitles

1
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I studied in Venice, Italy.

2
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After doing humanities,

3
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something was driving me
to explore many other things.

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So, I was wavering somewhat

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and I wanted to explore
avenues with nothing in common,

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like communications, law, or architecture.

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I wanted an artistic career, let’s say.

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I loved drawing,
I’d studied art in evening classes

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when I was at school.

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I absolutely wanted to find a job

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which would allow me to keep drawing.

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I remember that most
of my childhood drawings

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were of building sites.

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So houses, buildings under construction.

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At the time, I guess,

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not even understanding what they were.

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I was fascinated by the work of masons.

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For me, architecture is, above all,

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especially in my job as an architect,
is above all a huge responsibility

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for the spatial quality

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I try to bring to our projects.

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They ask us more and more

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to do architecture
with limited resources,

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with very tight budgets,

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or even with salvaged materials.

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Actually I think the question
of economy of means,

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the economy of materials, etc.,

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is really something
that can further enrich

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architecture and space,
and which allows us,

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as architects,
to always think even further

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and still, in the end,

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bring out that quality,
in spite of everything.

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Conception is a magical moment,

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because it’s not something you can order.

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I mean, it’s a moment of creation,
it’s inevitable,

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so it depends on what context,
what project, etc.

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So, what’s interesting for all creativity

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is that it’s somewhat enigmatic.

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We don’t wake up in the morning and say:
« Now I’m doing this, or that. »

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I mean, it’s not possible
if we’ve slept badly,

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if we have a hangover, etc.,
it might not happen.

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Se we need to find
a bit of calm, comfort and pleasure

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to try to reach that place
where the good ideas can flow.

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But the biggest satisfaction
is when building starts, yeah.

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I don’t think I’d continue in architecture

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if I didn’t see things materialize.

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Really, the most exciting part

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is when you see actual things, yeah.

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That, and what I also really like

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are the relationships with the trades.

51
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Since I’m fond of restoration projects,

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I love meeting the tradesmen.

53
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There’s a part that’s…

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Here, it’s this one…

55
00:04:03,440 –> 00:04:05,400
-It was the last trip that…
-Yes.

56
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Yes, it’s been knocked about a bit.

57
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I don’t think we’re looking to have
a Binario hallmark style, really.

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I don’t think,
looking at all our projects,

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you can say, « oh yes, that’s really

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a Binario project », like you’d say,
I don’t know…

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« it’s a Jean Nouvel project, a… »

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Because we’re so careful, every time,

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to provide a very specific solution…

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And again, I mean,

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on the question of restoration
and conversion,

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the buildings we’re dealing with

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are so different each time
that the solutions have got to be

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different, particular and specific
in every case,

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so I can’t really say:

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« Look, that’s our hallmark. »