The Brussels-based firm Ledroit Pierret Polet (LPP) Architectes is one of the ten craft architecture firms that caviar.archi has decided to portray in film. Anne Ledroit and Vincent Pierret tell us 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?

Anne Ledroit and Vincent Pierret
Ledroit Pierret Polet (LPP) Architectes

www.lpparchitectes.be
info@lpparchitectes.be

Technical sheet of this architecture video clip
Journalist : Emma C. Dessouroux
Cameraman : Emanuel Pinto / EpiProd – 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
00:00:13,040 –> 00:00:17,480
Le bureau est né de ma rencontre
avec Vincent Pierret,

2
00:00:17,560 –> 00:00:21,040
qui est un des associés
et également mon conjoint,

3
00:00:22,200 –> 00:00:25,080
pour qui j’ai travaillé au début
pour suivre un chantier

4
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qu’il n’avait pas le temps de suivre.

5
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Et on s’est vraiment trouvés
en architecture.

6
00:00:36,400 –> 00:00:38,520
Et puis Cédric est venu travailler
dans l’agence,

7
00:00:38,600 –> 00:00:42,040
et au bout de quelques années,

8
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il est arrivé, on a trouvé
que la collaboration fonctionnait bien.

9
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On a ajouté
une troisième personne à l’agence.

10
00:00:50,000 –> 00:00:51,160
Et ceux-là, ils vont où ?

11
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Ah, mais non, ceux-là…

12
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Là, tu peux pas mettre
une citerne, celle-là ?

13
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Pourquoi j’ai voulu être architecte ?

14
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Je pense que je regarde tout le temps
l’espace dans lequel je suis,

15
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qu’il soit urbain, extérieur, intérieur.

16
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J’essaie toujours de me géolocaliser

17
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et de regarder la qualité des espaces,
même avant mes études.

18
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Donc oui, j’aime l’espace
et la qualité spatiale.

19
00:01:18,080 –> 00:01:22,040
Mais en tout cas, au niveau de l’usage,
c’est sûr que…

20
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séparer la buanderie
de la salle de bains…

21
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On a une équipe de taille assez moyenne,
on va dire une dizaine de personnes,

22
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et ça nous permet
de pouvoir imaginer des projets

23
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où on travaille à trois, quatre
sur un projet pendant un moment donné,

24
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ou d’autres projets où il n’y aura
qu’une personne travaillant dessus.

25
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Voilà, je dirais que je ne vois pas
vraiment de règle.

26
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Ça dépend à chaque fois
de la question qui est posée.

27
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Ce qui est caractéristique
de notre travail, c’est…

28
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plutôt qu’une recherche
formelle avant tout,

29
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et qui est évidemment
nécessaire à l’architecture,

30
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c’est un travail sur l’usage,
la programmation et le contexte,

31
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et comment, avec ces données-là,
on parvient à créer

32
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une histoire dans un contexte donné.

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Une histoire, je veux dire quelque chose
qui emporte les spectateurs

34
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vers quelque chose qui apporte plus

35
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que juste un acte construit banal.

36
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Ce qui nous intéresse, c’est souvent

37
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d’avoir justement
de nouvelles questions à se poser.

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Mais donc, on peut aller
de la toute petite échelle,

39
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une petite rénovation,
ou une petite extension de maison privée,

40
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à, pour le moment,
un chantier, un centre Adeps

41
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avec salle omnisport,

42
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hébergement pour stagiaires,

43
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toute une série de bâtiments
plus complexes.

44
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On fait peu d’urbanisme, par contre.

45
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C’est vrai que la question
de l’espace public, c’est pas trop…

46
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On en fait un peu, mais pas beaucoup.

47
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Le projet, je crois,
le plus important à ce jour

48
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est la maison de quartier
et les logements sociaux Cygnes Digue

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près de la place Flagey.

50
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On devait apporter en une seule réponse

51
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de l’ordre, de la hiérarchie

52
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et la définition du programme
faisait également partie de la commande.

53
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Donc, on a été jusqu’à définir
un programme

54
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à partir de quelque chose qui était déjà
esquissé par les pouvoirs publics,

55
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jusqu’à la réalisation
et les réceptions des travaux.

56
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Clairement, je crois que des matériaux
comme la pierre, la brique, le bois,

57
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c’est des choses qui ont
une charge poétique assez importante

58
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et avec lesquelles
on aime bien travailler.

59
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Et on se laisse fort influencer
par les matériaux souvent présents,

60
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sur les lieux
dans lesquels on va travailler.

61
00:04:02,000 –> 00:04:05,280
Et on essaie aussi de tisser
une continuité avec ça.

62
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Quand on nous dit qu’on essaie
de tisser du lien

63
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c’est pas forcément faire
une copie conforme d’un existant.

64
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C’est plutôt transposer quelque chose
d’existant de manière contemporaine.

65
00:04:17,640 –> 00:04:21,960
OK, mais comment on se débrouille
pour trianguler une forme comme ça ?

66
00:04:22,040 –> 00:04:23,920
Mais on ne peut pas trianguler aussi…

67
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  • Ça, c’est un triangle.
  • Oui, mais…

68
00:04:25,280 –> 00:04:27,320

  • Mais ça, c’est un châssis, quoi.
  • Oui, mais…

69
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Et on passe systématiquement
par l’étape maquette.

70
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Bien sûr, ça se fait en plan,
bien sûr, ça se fait en croquis,

71
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bien sûr, ça peut se faire en texte,

72
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mais la question de la maquette
est essentielle.

73
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Tu vois le bazar, quoi.
Il faut surtout éviter, parce que là,

74
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il n’a aucune force, ce mitoyen-là.
On ne peut pas avoir de…

75
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On peut, à un certain moment,
regarder l’objet

76
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et puis pouvoir le faire tourner

77
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et vraiment pouvoir comprendre

78
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comment on peut déambuler
dans le projet.

English Subtitles

1
00:00:13,040 –> 00:00:17,480
The firm was the product of my meeting
Vincent Pierret,

2
00:00:17,560 –> 00:00:21,040
who is one of the partners
and also my spouse,

3
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whom I worked for at first,
to follow a project

4
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which he didn’t have time for.

5
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We really found one another
in architecture.

6
00:00:36,400 –> 00:00:38,520
Then Cedric came to work at the agency,

7
00:00:38,600 –> 00:00:42,040
and after a few years,

8
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he came in,
we found we worked well together

9
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and the agency had a third member.

10
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And where do those ones go?

11
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But, no, those ones.
You can’t put a cistern there.

12
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Why did I want to be an architect?

13
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I think I’m always observing
the space around me,

14
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whether it’s in the town, outside, inside.

15
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I’ve always tried to get my bearings

16
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and look at the quality of spaces,
even before my studies.

17
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So, yes, I like space and spatial quality.

18
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Anyway, in terms of use,
it’s a given that

19
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separating the utility room
from the bathroom…

20
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We have an average-sized team,
about ten people,

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and that allows us to work on projects

22
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in threes or fours,
on a project for a given time,

23
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or other projects with just one person
working on it.

24
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I don’t really see a general rule.

25
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It always depends
on the issue in question.

26
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What’s characteristic of our work is,

27
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rather than a formal study, above all,

28
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which is obviously needed in architecture,

29
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it’s work around the usage,
the planning and the context,

30
00:02:06,160 –> 00:02:10,560
and how, with these given factors,
we manage to create

31
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a story in a given context.

32
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By « story » I mean something
which brings the observer

33
00:02:19,800 –> 00:02:23,040
to something which has more to offer

34
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than some banal act of construction.

35
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Often what interests us

36
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is having new questions to ask.

37
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But we can go from the very small scale,

38
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a minor renovation,
or a small extension to a private house,

39
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to, the next moment, an Adeps center

40
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with a sports hall,

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lodging for interns,

42
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a whole range of more complex buildings.

43
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We don’t do much town planning, though.

44
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The issue of public space is not so…

45
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We do a little, but not much.

46
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The most important project
right now, I think,

47
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is the Cygnes Digue community center
and public housing

48
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near the Place Flagey.

49
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With one single solution, we had to bring

50
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order and hierarchy,

51
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and the program definition,
was also part of the request.

52
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So we went as far as defining a program

53
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from something that had been outlined
by the local authorities,

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on through to the execution
and sign-off of the works.

55
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Obviously, I think materials,
like stone, bricks, wood,

56
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are things
that carry a lot of poetic charm,

57
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and which we enjoy working with.

58
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We draw a lot of inspiration
from the commonly-used materials

59
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in the areas we’re working in.

60
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And we try to knit into that.

61
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When we say « knit into »,

62
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it’s not about making a copy
of what’s there already.

63
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It’s more about transposing something
existent in a contemporary way.

64
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Okay, but…

65
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How do we triangulate a shape like that?

66
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But can’t we also triangulate it…?

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-That’s a triangle.
-Yes, but…

68
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-But that’s just a frame.
-Yes, but…

69
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We go systematically
through the model phase.

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Of course, we do plans,
of course we do sketches,

71
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of course, it can be done in text,

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but the model is really essential.

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You see the problem.
It must be avoided, because there…

74
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This adjoining wall has no strength.
We can’t have…

75
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We can, at a particular moment,
look at the object,

76
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and then turn it around

77
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and really grasp

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how one can walk around
inside the project.