Pierre Lallemand is a founding partner at Art & Build Architects. Today, he works alone to find consistency in his work as a painter, model maker and inventor. He defines the architecture as the materialization of a thought, a reflection, a will and an intention.
Pierre Lallemand
Pierre Lallemand & Parners
pierrelallemand.eu
info@plpa.eu
Technical sheet of this architecture video clip
Journalist : Emma C. Dessouroux
Cameraman : Emanuel Pinto / EpiProd
Photographies : Mister Emma
Editing : Emma C. Dessouroux / Cristina Dias
Direction : Emma C. Dessouroux
Production : Les Délires Productions
Translation : Comtrans
Subtitles : Les Délires Productions
French Subtitles
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J’ai fait mes études d’architecture
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à l’Académie des Beaux-Arts.
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J’ai commencé à travailler
chez André Jacquemin.
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C’était une période assez épouvantable.
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Et je suis allé ensuite en Italie
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puis aux États-Unis.
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Et je suis revenu en Belgique
faire mon service militaire.
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Et pendant mon service militaire,
j’ai dessiné des luminaires
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et 15 jours après ma démobilisation
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j’ai fait une exposition à la Fondation
pour l’Architecture.
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Et puis on est venu me chercher
pour fonder Art & Build,
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enfin mes associés de l’époque.
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La cohérence de mon travail
ne se retrouvait pas
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chez Art & Build, c’est-à-dire
tout ce que je faisais en peinture
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tout ce que je faisais en bicyclette,
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tout ce que je faisais…
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dans mes maquettes
d’architectures possibles
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ont toutes toujours été exogènes
à Art & Build.
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Il n’y avait pas de volonté
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de mes partenaires de l’époque
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d’intégrer ça au sein de…
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du bureau d’architecture.
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Or, pour moi, c’est fondamental.
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C’est quelque chose qui est essentiel,
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cette indivisibilité
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de mes activités.
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On ne peut pas, je ne peux pas
m’empêcher de penser, de réfléchir
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et d’acter et de réaliser.
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Pour ces raisons, j’ai quitté Art & Build.
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J’en garde évidemment
un souvenir extrêmement…
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extrêmement fort
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et enthousiaste.
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Mais aujourd’hui,
j’ai le sentiment d’une…
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d’une très, très grande liberté
en termes conceptuels
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parce qu’il n’y a plus de pression
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en termes de…
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de chiffre d’affaires,
je pense que c’est un luxe
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extraordinaire que je peux
à la fois m’offrir et offrir
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au maître de l’ouvrage,
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parce que quand je travaille
pour l’un ou pour l’autre
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c’est sans équivoque
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et c’est total.
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L’architecte a besoin
de la commande et du vis-à-vis
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du maître de l’ouvrage.
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Par exemple, on peut assimiler
à un peintre du XVIIe
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qui a pour objet de peindre des portraits.
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Et donc à la fois,
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le tableau doit représenter
la personne en question
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mais peut être soit un chef d’œuvre,
soit une croûte.
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Et donc tout l’art du…
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du créateur réside dans la manière.
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Un jour, il y a un grand collectionneur
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qui est venu me poser la question :
« Qu’est-ce qu’un artiste? »
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Il m’a dit : « C’est quelqu’un
qui a une vie d’artiste. »
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Alors est-ce que je suis
un artiste, peut-être.
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En tous les cas, l’architecture
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est une activité extrêmement chronophage
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et dès qu’on y met le doigt
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on est happé comme
dans la broyeuse de chocolat
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de Marcel Duchamp.
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C’est-à-dire qu’on n’en échappe plus
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et donc ça devient
quelque chose d’omniprésent.
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Lorsqu’on a un dossier d’architecture,
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qui sont des dossiers toujours
extrêmement complexes,
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on se réveille et on s’endort
avec ces préoccupations.
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Les bâtiments, je les conçois un peu
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comme ces tableaux, ces maquettes.
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Ce sont des sculptures.
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Des sculptures habitables,
des sculptures…
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d’activités.
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Celles-ci s’intègrent toujours
dans un contexte premier,
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c’est-à-dire, quand on conçoit ici
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en haut de la rue le bâtiment Solvay,
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ce bâtiment ne pourrait pas se trouver
à Djibouti,
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il est bruxellois.
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Il est belge, il est…
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Il est relatif à l’activité
qui est dedans.
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L’architecture est quelque part
la matérialisation
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d’une pensée, d’une réflexion
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et d’une volonté aussi,
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et d’une intention.
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Et le dessin, ou le croquis,
en est la première matérialisation.
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Aujourd’hui, avec tous les outils
que nous avons de manière informatique
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que nous utilisons évidemment
avec assiduité,
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il y a une densité dans le geste du crayon
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qui est plus profonde que dans le reflet
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d’une séduction qui apparaît à l’écran
de manière assez immédiate.
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Je crois que l’architecte
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est quelqu’un, est un artiste parfois,
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de circonstance, toujours.
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C’est-à-dire qu’on n’existe
qu’au travers d’une commande.
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En tant que structuraliste,
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en tous les cas,
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c’est une de mes préoccupations
fondamentales,
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c’est qu’on répond toujours à un contexte.
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Et le contexte est bien au-delà
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de la préoccupation physique.
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C’est une préoccupation
tout aussi culturelle,
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que historique, que…
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que constructiviste.
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On n’a pas de matériaux de prédilection,
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enfin, qui me…
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enfin que j’utiliserais
de manière systématique.
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Je crois qu’un matériau est
un des paramètres qui répond
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à la préoccupation architecturale
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et qui résulte elle-même
d’une programmation
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et d’une contextualisation dans lesquelles
les choses doivent se faire.
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Je pense qu’il faut être ouvert
à tous les matériaux,
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que ce soient les anciens matériaux,
les nouveaux matériaux,
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que ce soit pour faire un vélo
ou pour construire un immeuble.
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Les vélos qui sont ici,
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ce sont des formes nouvelles
qui résultent de matériaux
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que j’ai trouvés dans un chantier naval
qui étaient des petits blocs de balsa.
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Et puis de là, j’ai fait un vélo.
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Ce vélo, la plastique du vélo,
est le résultat
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d’un matériau qui n’avait
jamais été utilisé
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pour ce type d’usage.
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Je crois aussi que la finalité
de l’architecture,
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elle est faite pour…
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pour le bien de tous.
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Que ce soit aussi bien pour l’occupant
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que pour le passant.
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Que tous les éléments aujourd’hui
que l’on absorbe
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comme tous les aspects environnementaux,
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toutes ces préoccupations,
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elle doit être tournée
vers le plaisir de l’existence.
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C’est une finalité qu’il faut toujours
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avoir en perspective parce que…
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on ne fait pas des machines à habiter,
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on ne fait pas des machines à travailler
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ou à occupation.
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La dignité de l’homme passe
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par la qualité des lieux dans lesquels
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il existe.
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Il n’y a pas non plus une architecture,
il y a des architectures
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mais il y a un principe ou une méthode
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ou un process de pensée
qui, lui, est récurrent.
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Et ce process de pensée est…
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En Belgique on a
cette chance extraordinaire
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d’être entre deux mouvements de pensée
à mon sens très différents
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qui est une pensée inductive,
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qui est une pensée toute britannique.
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Et la pensée déductive
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qui est plutôt française.
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Et nous on a cette faculté
de passer de l’un à l’autre
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avec une très grande aisance,
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et qui nous permet
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de faire des architectures
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très singulières et très complexes.
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Quand on parle
de l’intégration à Bruxelles,
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c’est un leurre
parce que s’intégrer à quoi ?
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S’intégrer à…
certains diront à un chaos,
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d’autres parleraient de diversité
ou de multiplicité.
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C’est toujours une approche
qui doit être extrêmement sensible.
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Qui est de dire : « Voilà, on a un bâtiment
là comme ceci, là comme ceci. »
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Et donc soit on se met
en pivot entre deux,
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soit on fond l’un et l’autre dans un…
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dans un caramel mou.
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Mais c’est une
de nos grandes spécificités,
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en tout cas des architectes belges.
English Subtitles
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I studied architecture
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at the Academy of Fine Arts.
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I started working for André Jacquemin.
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It was quite a terrible time.
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And then I went to Italy
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then to the USA.
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I returned to Belgium
to do my military service.
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And during my military service,
I designed lights
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and 15 days after my demobilization,
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I did an exhibition
at the foundation for architecture.
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Then I came to found Art & Build,
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with my associates at the time.
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The consistency of my work
wasn’t established
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at Art & Build.
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Meaning, everything I did in painting,
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or on a bicycle,
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everything I did…
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in my models of possible architectures,
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always came from outside Art & Build.
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There was no willingness,
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by my partners at the time,
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to integrate that into…
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the architectural firm.
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For me, it’s fundamental.
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This indivisibility
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is essential
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in my activities.
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We can’t, I can’t help
thinking, reflecting
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acting and carrying it out.
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For these reasons, I left Art & Build.
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I obviously have very memories that are…
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very powerful
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and enthusiastic.
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But today, I have the feeling of…
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a very, very great freedom
in conceptual terms,
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because there is no more pressure
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in terms of…
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of turnover.
I think it’s an extraordinary luxury
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that I can offer, both to myself,
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and to the client,
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because when I work for one or the other,
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it’s unequivocal
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and it’s total.
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The architect needs the control,
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and so does the client.
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For example, we can liken it
to a painter in the 17th Century
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who aims to paint portraits.
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And so at the same time,
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the painting must represent
the person in question
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but can be either a masterpiece or trash.
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And so all the art of…
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the creator lies in the style.
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One day, there was a major collector
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who came and asked me:
« What is an artist? »
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He told me,
« He is someone who has an artist’s life. »
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So am I an artist? Maybe.
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In any case, architecture
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is an extremely time-consuming activity
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as soon as you put your finger to it
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you are caught like in Marcel Duchamp’s
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chocolate grinder.
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You can’t escape it anymore,
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so it becomes something ubiquitous.
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When you have an architecture file,
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which are always extremely complex files,
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you wake up and go to asleep
worrying about it.
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I see the buildings a little
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like these paintings, these models.
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they are sculptures.
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Habitable sculptures, sculptures…
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of activities.
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These always fit in a first context,
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that is to say, when we build here
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the Solvay building
at the top of the street,
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this building could not
be placed in Djibouti,
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it’s a Brussels building.
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It’s Belgian, it’s…
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It’s relative to the activity
that takes place in it.
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Architecture is partly the materialization
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of a thought, a reflection,
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and willingness too,
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and an intention.
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And the design, or sketch,
is the first materialization.
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00:05:29,480 –> 00:05:33,440
Today, with all the tools
we have on a computer,
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that we use diligently and regularly,
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00:05:38,360 –> 00:05:42,400
there is a density that
comes from using a pencil
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that is deeper than in the seductive flash
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that appears on the screen immediately.
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00:05:53,320 –> 00:05:55,200
I believe that architects
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are sometimes artists,
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always circumstantially.
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00:06:00,760 –> 00:06:03,320
Meaning, that exists only
by means of commands.
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00:06:05,160 –> 00:06:07,240
As a structuralist,
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in any case,
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that’s one of my fundamental concerns,
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that we always respond to the context.
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And the context goes
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far beyond the physical concern.
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It’s equally a cultural,
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historical and…
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creative concern.
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00:06:30,880 –> 00:06:34,200
We don’t have any material of choice,
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which…
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which I would use systematically.
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I believe that a material
is one of the parameters
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that responds
to the architectural concern,
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00:06:49,240 –> 00:06:51,880
and that results from a programming
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and a contextualization
in which things must be done.
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00:06:55,480 –> 00:06:58,960
I think you have to be open
to all materials,
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00:06:59,040 –> 00:07:01,120
whether old materials or new materials,
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00:07:01,200 –> 00:07:04,040
whether to make a bike
or construct a building.
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00:07:04,840 –> 00:07:06,720
The bikes that are here,
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00:07:06,800 –> 00:07:10,120
are new forms resulting from materials
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00:07:10,200 –> 00:07:13,440
that I found in a shipyard,
small blocks of balsa.
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00:07:13,720 –> 00:07:17,840
And then from there, I made a bike.
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00:07:17,920 –> 00:07:22,400
This bike, the plastic on the bike,
is the result
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00:07:22,720 –> 00:07:27,120
of a material
that had never been used before
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00:07:27,200 –> 00:07:29,560
for this type of use.
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00:07:35,040 –> 00:07:38,720
I also believe that
the purpose of architecture,
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it’s for…
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it’s for the good of all.
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Both for the occupant,
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as well as the passer-by.
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00:07:53,800 –> 00:07:57,480
All the elements that we absorb today
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00:07:57,560 –> 00:08:00,840
as all environmental aspects,
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00:08:00,920 –> 00:08:03,080
all these concerns,
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00:08:03,160 –> 00:08:07,160
must revolve around
the pleasure of existence.
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00:08:07,240 –> 00:08:10,400
This is a purpose that must always
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00:08:10,480 –> 00:08:14,160
be in perspective because…
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00:08:15,920 –> 00:08:17,440
we don’t make machines to live,
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00:08:17,520 –> 00:08:20,120
we don’t make machines to work
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00:08:20,200 –> 00:08:22,840
or for occupations.
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00:08:24,280 –> 00:08:25,680
The dignity of man
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00:08:25,760 –> 00:08:29,760
comes from the quality of the places
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00:08:29,840 –> 00:08:32,280
in which he exists.
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00:08:37,120 –> 00:08:40,360
There is no longer one architecture,
there are many architectures,
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but there is a principle or a method
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00:08:43,000 –> 00:08:46,320
or a recurrent thought process.
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00:08:46,760 –> 00:08:49,440
And this thought process is…
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00:08:50,960 –> 00:08:53,960
In Belgium, we have
this extraordinary chance
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00:08:54,640 –> 00:08:58,880
to have two movements of thought,
very different in my opinion,
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00:08:58,960 –> 00:09:00,600
inductive thought,
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00:09:00,680 –> 00:09:02,240
which is a very British thought,
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00:09:02,320 –> 00:09:04,840
and deductive thinking,
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00:09:04,920 –> 00:09:06,760
which is more French.
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00:09:06,840 –> 00:09:09,520
And we have this ability
to switch from one to another
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00:09:09,600 –> 00:09:11,920
with great ease,
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00:09:12,320 –> 00:09:15,720
and that allows us
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00:09:15,800 –> 00:09:18,200
to make architecture that is
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very singular and complex.
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00:09:21,000 –> 00:09:23,560
When we talk about
integration in Brussels,
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00:09:23,640 –> 00:09:26,880
it’s a trick. Integrating with what?
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00:09:27,320 –> 00:09:31,600
Integrating… some will say with chaos,
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00:09:31,680 –> 00:09:35,400
others talk about
diversity or multiplicity.
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00:09:35,480 –> 00:09:39,040
It’s always an approach
that must be extremely sensitive.
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00:09:39,520 –> 00:09:43,520
That is to say: « We have a building there
like this, like that. »
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Either we start to pivot between the two,
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00:09:46,840 –> 00:09:50,080
or we merge each one into a…
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like a soft caramel.
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00:09:52,280 –> 00:09:56,240
But that’s one of our special features,
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very typical of Belgian architects.
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