[0:23] 1-2, 1-2 test!

[0:27] Good evening. At this hour we can say good night

[0:30] Good evening everyone.

[0:31] It gives me a certain pleasure

[0:32] personally and to my team for being here with me

[0:35] to introduce you to our project,

[0:39] I'd like to quickly introduce you to the members from my team who completed the study.

[0:43] So we have Simon at the back, Simon Trudel is an engineer

[0:48] a company representative of Stantec. Étienne Binette

[0:52] who is a representative of the firm Option Design

[0:57] to his right Régis Lechasseur associate with

[1:01] Bourgeois Lechasseur architectes

[1:03] then there's Emmanuelle Champagne, architect, working with us at the firm

[1:06] Bourgeois Lechasseur and to my left here

[1:09] -can you still hear me?

[1:14] On my left is Todd Saunders who has just arrived

[1:17] from Norway to be with us today.

[1:22] So that's where we can start.

[1:27] To begin with, I'm going to let Todd has his say

[1:30] I'll take the microphone afterwards to translate his words

[1:35] and completed the presentation

[1:38] So we'll just

[1:42] if time permits

[1:44] I'm making a very quick return for explain our impression.

[1:47] When we go to see the ground, the site for the first time with the team.

[1:53] We felt really privileged to be able to have

[1:57] access to such a magnificent site

[2:01] What we found particularly interesting surprised

[2:04] and impressed

[2:05] it's a bit like trees coming of age, so we expected to arrive here

[2:10] and to be in a very, very dense park

[2:15] Arriving from the boulevard, we could already see

[2:18] the lake through the trees.

[2:19] So...,

[2:22] we saw that the tree canopy which is very, very high.

[2:24] Then it leaves a nice permeability to catch a glimpse of the lake.

[2:28] So this is something that struck us on arrival

[2:30] Then we took a quick stroll

[2:34] through the terrain, rather quietly across the field

[2:38] gradually descending towards the sandy area, we discovered the marina

[2:41] which was nevertheless hidden

[2:44] as you know, at the finish

[2:45] we discovered at the marina all the at

[2:48] maritime site too

[2:51] there are several possibilities to let local people discover it

[2:56] between the two sides of the site

[2:59] for us this barrier was confusing

[3:03] to enable the site to

[3:04] To unify.

[3:10] To see the very tall trees it allows us to imagine

[3:12] a library can be suspended

[3:16] somewhere between these two heights

[3:18] firmly rooted in its terrain, to its site,

[3:21] but it also needs to be warm, airy and welcoming.

[3:25] I'll let Todd explain the concept

[3:27] in English and I will take the floor for what's next.

[3:30] Yeah.

[3:34] I, I'll be speaking in English.

[3:39] Good for you! So much the better!

[3:41] Oh yes, Beaconsfield!

[3:44] I just want to thank you for coming out tonight. It's really nice weather up there.

[3:46] and

[3:50] I'll be quick. I wanted to tell you I'm actually Canadian.

[3:54] I grew up in Newfoundland

[3:55] and I did my master's at McGill

[3:58] and last year I did a lecture at McGill. I was here in September.

[4:01] I want to talk about why I wanted to do this project.

[4:04] Because I'm about to move back to Canada.

[4:07] I had been almost 30 years in Scandinavia

[4:10] building up a practice. I worked all around the world.

[4:14] and have done about 15 projects in Canada

[4:17] The Fogo Island hotel is probably the most well known,

[4:21] and now we are wrapping up a visitor centre in northern Maine.

[4:24] It's probably the best building I've ever done.

[4:27] And the main reason I want to, I want to thank, Olivier.

[4:30] He came to my office to work for a very short time,

[4:35] and made a big impression on me.

[4:36] We get a lot of people from all over the world coming at us

[4:41] right in the middle of the project, his grandfather was about to die

[4:44] and flew back to the Îles-de-la-Madeleine

[4:46] and I thought we'd never see him again

[4:50] And he came back after his grandfather died

[4:54] and finished the project he was working on, paid for his own plane ticket and everything.

[4:57] and it was about taking responsibility.

[5:00] I think that's why it's been really nice, working with him.

[5:05] And it's actually kind of fun of watching an employee get really, really good.

[5:08] And, it's kind of scary too.

[5:11] I'll be quick, over the last 29 years in Scandinavia,

[5:17] there's one thing I've been trying to do,

[5:18] and that's what the Scandinavians taught me: how to make

[5:21] complicated things very simple.

[5:23] And architecture within the rail and instruction manuel

[5:26] and everything else is often done poorly.

[5:29] is often poorly done.

[5:31] And what we did

[5:32] here tonight, -there's a button there?-

[5:37] It's quite simple. We have a street to relate to,

[5:42] And we have water to relate to

[5:45] a park to relate to and a neighbourhood to relate to.

[5:47] Four parts.

[5:48] And when you're playing around,

[5:50] to make people walk on the rough and and do all sorts of things

[5:53] But we've simplified it

[5:55] in one piece that works.The water,

[5:58] a piece that works atthe street

[6:00] a piece that works in the neighbourhood

[6:03] and another in the park

[6:05] So we got our legs in each each part of it

[6:07] right there.

[6:08] Another thing we wanted to do, we didn't want to put it

[6:11] in the park.

[6:12] And what I try to tell my clients is to build in the worst place on the site

[6:16] possible, because then you protect yourself

[6:19] We didn't want to touch anything, we wanted to be very hands-on.

[6:21] careful with the park landscape

[6:24] you can see our other projects that we barely distrub

[6:27] the landscape. We work around trees.

[6:30] Here we wanted to go out

[6:32] Another thing we wanted to do

[6:34] Steve is our landscape architect

[6:37] and I'm very excited that we work together

[6:38] Steve is from Quebec

[6:43] And then how can I create like a town square

[6:45] or a palazzo or a meadow courtyards

[6:47] So that's it,

[6:49] we had this idea of making a large carpet, you know,

[6:52] in the landscape

[6:54] not that it'd be a lot of extra cost,

[6:58] but we just wanted to create this space. So it was the second part.

[7:02] I think I've been noticing the libraries in Scandinavia, prior

[7:05] to when I started my own little office, I didn't have much money to have an office

[7:09] so I was working in the library in a small town.

[7:12] There were always people meeting and drinking coffee and the kids coming after school.

[7:17] And reminded me of this, how nice that building was.

[7:20] And it's not just a library. It's kind of like a living room for the whole community.

[7:27] And Beaconsfield is a unique place

[7:30] We want to make this library a community building

[7:34] That's why we went with a pitched roof.

[7:37] We couldn't have done a flat roof from the ground.

[7:41] But then I felt like, this is 1950s,1960s,1970s public buildings coming over to your neighborhood.

[7:47] I'd like to do something that looks like a house.

[7:49] Which is a large house for everyone.

[7:52] And this is why we went with the pitch.

[7:54] Roof will probably make things more expressive,

[7:57] more modern

[7:58] but it's a very simple structure.

[8:00] And the exterior, the doors...

[8:02] when you go inside a house

[8:05] Where I grew up in Newfoundland, he first thing my grandmother would ask me is

[8:09] "Would you like a cup of tea?"

[8:11] And this is the feeling I got when I was going to libraries in Scandinavia

[8:14] "Oh there's a cafe!"

[8:16] There were always nice baked goods,

[8:18] and it was this great feeling to go in there

[8:21] Like when I lived in ...(inaudible)... and I used to go into these bakeries.

[8:26] Youknow, your neighbourhood smell the coffee on this bakery.

[8:29] Build this instead of a public building,

[8:33] a place where you want to meet.

[8:36] The ground floor is for everyone

[8:38] And, you know, in the summer you can go here in the morning

[8:43] Watch the morning sun.

[8:44] In the evening, you could be here.

[8:46] But the ground floor

[8:49] it's like a complete guided tour. You come in

[8:51] people greet you

[8:52] and then you go upstairs

[8:54] to see the rest of it. And then from above,

[8:56] you can see the whole landscape

[8:59] in all four directions.

[9:01] I just want to thank you and I'll give the floor back to Olivier. Thank you, Olivier!

[9:08] I'll translate...(inaudible)... I'll keep it short anyway.

[9:12] to avoid too many repetitions.

[9:14] I'm going to skip ...(inaudible)... the part

[9:17] on personal experience, about what he said about me too.

[9:20] I think that, yes, in the room I think that everyone has understood.

[9:25] He is of Canadian origin to make a long story short.

[9:26] He is currently working on several projects in Canada

[9:29] We met several years ago because I worked with him at Brigade in Norway.

[9:33] and I'll come back to the project to be sure that you understand.

[9:37] In essence, Todd's comments were ...(inaudible)...

[9:41] why make a complicated project

[9:43] when you can make it very simple

[9:46] We decided in the first part to go there with a project

[9:48] easy to ...(inaudible)...

[9:49] so very Cartesian if you like, with

[9:52] axes that extend on both sides

[9:55] of the park to weave

[9:58] all major areas of this magnificent site.

[10:03] If I quickly explain what's going on on a field ...(inaudible) which advances...(inaudible)...

[10:11] Which you can see here,

[10:12] which stretches ...(inaubidle)... along the boulevard

[10:16] in continuity with this ...(inaudible)...

[10:18] north-south entrances that stretch out

[10:21] on the marina side, on the lake side and on each side, including on the east side,

[10:27] you can see ...(inaubible)...

[10:29] clarify and extend the parking area a little, slightly more technical traffic

[10:33] and then on the other side it's the angle that really stretches out into the landscape,

[10:37] through the trees. So more air which comes

[10:40] stretch like this and

[10:42] and then

[10:44] Todd has also already spoken

[10:46] the opportunity to work in the field.

[10:48] So we worked very hard to create from the outset

[10:51] to bring you this great plaza as it was called.

[10:54] ...(inaudible)... we called it "The hold".

[10:58] under the influence of the sea the chocks a little,

[11:01] the dry docks for boats that could be found all over the top

[11:03] of the St Lawrence at one time.

[11:07] ...inaudible...

[11:09] from the boulevard to the lake

[11:11] ...(inaudible)... and passing by through or under the building.

[11:16] More links

[11:19] east-west where we go

[11:21] that is coming to rake the second part of the site.

[11:26] ...inaudible...

[11:30] Maybe just to make you understand,

[11:32] the main entrance to the building is

[11:38] ...(inaudible)...

[11:43] ...(inaudible)... suspended

[11:46] ...(inaudible)...

[11:48] I guess time flies and I'm going to try to get through it

[11:51] of all the slides.

[11:52] ...(inaudible)...

[11:58] The project that will find the axes, as I said earlier.

[12:01] ...(inaudible)...

[12:04] ...create a surprise effect, through a certain verticality.

[12:07] So the ...(inaudible)...is really ...(inaudible)...

[12:11] of the building, which is right in the heart

[12:14] ...(inaudible)...the kneecap to enable

[12:17] the right direction people through different functions

[12:21] of the project, be it the cultural centre or the library

[12:25] ...(inaudible) we find

[12:27] a staircase that can be used as an agora

[12:31] the staircase of possibilities

[12:33] which refers to certain daydreams

[12:35] So it's more ...(inaudible)...

[12:38] ...(inaudible)...

[12:41] ...(inaudible)... so that people can sit on the stairs.

[12:46] Then take advantage of any ...(inaudible)...

[12:47] ...(inaudible)... which is created as part of the project.

[12:51] And on the inside too, I don't I didn't mention earlier,

[12:54] ...(inaudible)...

[12:56] to break the rigidity

[12:59] ...(inaudible)...

[13:05] inside the curve we see on the ceiling

[13:09] So that gives a certain dynamism to the project.

[13:12] Then, ...(inaudible) direct people

[13:16] ...(inaudible)...in certain sectors...(inaudible)...

[13:19] the first reception of the project on the ground floor.

[13:23] So the welcome is quite visible, on entering the building, which can be used

[13:26] also a small bistro

[13:30] on certain occasions which are more likely to occur indoors.

[13:33] Then there's the warmth which is accentuated by

[13:36] wood, which is very present within the project.

[13:39] ...(inaudible)...at the heart of the project.

[13:46] The following document provides a brief summary.

[13:49] it was really to illustrate ....(inaudible)...the ground floor ...(inaudible)...with the floor.

[13:53] ...(inaudible)...so we can see that

[13:56] ...inaudible... on the park side. ...(inaudible)...

[14:01] lift this section of the building

[14:03] ...(inaudible)...

[14:06] ...(inaudible)...

[14:08] ...(inaudible)...

[14:18] The heart of the project to distribute

[14:21] people in certain sectors

[14:24] Next image.

[14:27] Without going into too much detail in the organization of the plan,

[14:30] And I think this image speaks for itself also a lot. It's an image

[14:35] which again represents the heart of the project, but at a higher level?

[14:38] So we feel the opening in the circular floor

[14:41] to make eye contact interesting about what's going on down there.

[14:46] So there's already a glimpse of the agora.

[14:48] Then there's contact too very present on the

[14:52] second reception on the first floor who ...(inaudible...)

[14:56] ...(inaudible)...library and then

[14:59] in this image that we have of openings onto the cultural landscape

[15:03] of certain places which is a bit of a frame different views of the landscape.

[15:08] And then there's also the desire to live outside the project.

[15:12] So there are a few books who are exposed

[15:16] with windows that are inhabited too, which are

[15:20] ...(inaudible)... in relation to the ground so that you can sit down and read.

[15:27] Next image,

[15:30] ...(inaudible)...the summary aspect of what's going on...(inaudible...)

[15:34] So..,

[15:35] the project takes on much greater importance in floor space.

[15:38] It is on this floor that we mainly find the

[15:42] areas of the library. So the reading areas, the sections...(inaudible)...

[15:48] on the image on the left, which is the wood side,

[15:50] It's really the wing that stretches across the landscape which corresponds to collections of

[15:55] teenagers and adults.

[15:57] Ending on a balcony

[15:59] who would really be...(inaudible)... in the forest.

[16:04] On the east side there are spaces

[16:06] which are ...(inaudible)...the computer laboratory, a number of meeting rooms.

[16:12] And a space that is also ...(inaudible)...towards the end.

[16:16] Oh sorry, I stole the punch!

[16:21] ...(inaudible)... Right here,

[16:27] ...(inaudible)...

[16:29] ...(inaudible)...at the start of the project

[16:32] ...(inaudible)... upstairs,

[16:38] We imagined a fairly comfortable space with a beautiful view

[16:41] on the lake.

[16:44] ...(inaudible)...

[16:46] So the...(inaudible)...which is located

[16:48] intervention

[16:51] ...(inaudible)... with a great view view of the lake.

[16:56] Whether in the north,

[16:57] or in the part of the ...(inaudible)... administrative spaces are more

[17:00] who ...(inaudible)...

[17:02] The south wing...(inaudible)...

[17:06] ...(inaudible)...

[17:11] ...(inaudible)...previous

[17:13] you've seen. In the background this is the space we call "the boat".

[17:16] in our project design. The small space that is ...(inaudible)...

[17:21] ...(inaudible)...

[17:23] So we go down a few steps forward to reach this level.

[17:27] And that's what brings us to the bottom, ...(inaudible)... fairly well framed

[17:33] ...(inaudible)...

[17:34] comfortable with a ...(inaudible)... very warm ...(inaudible)...

[17:39] And it's a very flexible space that the children can easily appropriate

[17:42] to play while their parents on the periphery.

[17:46] ...(inaudible)...

[17:49] who we really liked.

[17:53] Also outside with some peripheral elements.

[17:56] We're not going to circulate all around this room.

[17:58] ...(inaudible)... at the extremities of our zone

[18:02] for children who...(inaudible)... on their balcony,

[18:05] facing south with the view of the lake.

[18:10] ...(inaudible)... in the entrance...(inaudible)...

[18:14] to introduce you to the Beaconsfield side.

[18:18] At the start of the project we had the intention that the project should be ...(inaudible)...

[18:21] ...(inaudible)...also for pleasure boaters, people arriving by boat.

[18:25] So it's something that touched me

[18:27] personally. Then we thought it was important

[18:31] to work on it. Then...(inaudible)... maritime influence we had in the project.

[18:36] ...(inaudible)... reference perhaps large boathouses.

[18:40] You can see this in the shape of the building.

[18:43] Then feel the south wing stretch out the landscape.

[18:47] That goes on and on cantilevered.

[18:52] ...(inaudible)...

[18:55] which is treated a little in the image of certain large quays

[18:58] ...(inaudible)...

[19:00] A large maritime vessel that could get very, very close to the water.

[19:06] -Two minutes to go. -Perfect!

[19:08] Quickly, that's the more technical side.

[19:12] It's the space...(inaudible)...under the overhang, ...(inaudible)...adults.

[19:16] So, a very comfortable space.

[19:18] ...(inaudible)...with the coolness of the park.

[19:20] Very close to the ground, people could sit back and enjoy the cooler hours.

[19:27] As there are two minutes left,

[19:30] I'm going to speed things up a little.

[19:31] It's important to show you the Beaconsfield side.

[19:35] From the boulevard,

[19:37] is what the building is designed to look like.

[19:39] A reference too, perhaps more residential language.

[19:42] ...(inaudible)...

[19:46] understand the project and appropriate it a little more quickly.

[19:50] So, a very ...(inaudible)... building with wooden facades.

[19:53] tin roofing

[19:55] transparency too through the building.

[19:59] On the right-hand side of ...(inaudible)...

[20:03] ...(inaudible)... Let me come back to this image.

[20:06] I just wanted to mention

[20:08] that in the project ...(inaudible)... we wanted

[20:11] an inspiration, a little drawn between

[20:14] the maritime side,

[20:16] the more natural side of the park.

[20:18] So looking to create a building a little a little out of balance through these elements.

[20:23] The title of the project is "L'étrave".

[20:26] Because it's

[20:29] when we filed our first application,

[20:32] the...(inaudible)... came out with a text by a Quebec artist

[20:35] you know: Gilles Vigneault.

[20:37] It was one of his most important texts

[20:40] called L'étrave. Then for your understanding

[20:44] the bow is part of the boat

[20:47] ...(inaudible)...

[20:51] depending on the weight of the boat

[20:53] ...(inaudible)...would catch the wave ...(inaudible)...it's an in-between at the end of the day.

[20:56] Then we thought it represented our project. So we took the bow.

[21:00] Thank you very much for listening.

[21:18] Hello, hello!

[21:22] Hello?

[21:28] Hello.

[21:37] Hello?

[21:40] I'd have to

[21:40] sing!

[21:51] Okay. Well, that's fine.

[21:52] So... Thank you very much for the presentation.

[21:55] I had a question.

[21:57] I probably didn't the chance to mention it,

[22:00] but in relation to the reading room for adults.

[22:03] So I was very curious in relation to this.

[22:06] Firstly, how do you get there?

[22:08] Then what is it vision of this room?

[22:16] Yes, in the room, the room you're talking about,

[22:19] it's the room that goes down, the pillar leading down into the park.

[22:23] In fact, we combined

[22:26] the site.

[22:27] In fact, the outcome is within this element and.

[22:32] But the adult reading room, access directly from

[22:36] the library is like an agora

[22:39] which becomes a space between two, i.e.

[22:42] we don't go down all the way down.

[22:44] You can only see it in one of the cups, it's like

[22:48] and I'd say three or four steps,

[22:53] but which allows you to sit and the view between them.

[22:56] So through the canopy and the trunks.

[22:59] So it's a view

[22:59] that we don't necessarily have access to whether you're upstairs or downstairs.

[23:03] So we wanted to create this this little cocoon zone here

[23:07] which was which is also different other reading areas

[23:10] which are distributed all over the adults' wing.

[23:14] Is it glazed? Well, it's glazed

[23:17] outwards, there, But,

[23:20] on the mezzanine floor.

[23:22] We thought that, given you as if you're down below, the acoustics

[23:26] and everything, it's going to be be fairly controlled, fairly calm.

[23:30] But it's a space that's like also set back from the rest.

[23:33] the library. Then is it accessible?

[23:36] Well actually, given that we've divided up this space,

[23:40] the reading area into two sections, i.e. there's this section here,

[23:43] then there are other sections as accessible

[23:46] there, being the year that was in agora, it was not accessible.

[23:58] Hello, thank you for the beautiful presentation.

[24:03] I appreciate the maritime aspect of the project.

[24:07] I wonder in relation to the porosity of the building,

[24:11] as it's on two floors, beautiful windows

[24:15] with a view from every angle possible.

[24:18] On the other hand, the view we recommend, as you said at the beginning

[24:22] your presentation of the boulevard, through the trees, you can see the lake,

[24:28] but we'd end up with a two-storey building that hides

[24:33] not bad in width

[24:34] a large part of this view.

[24:38] In the ...(inaudible)... especially at the beginning of the presentation,

[24:41] you mentioned this very view of the boulevard.

[24:46] Yes, absolutely.

[24:47] The view that struck us on arrival

[24:50] it's definitely the view from the side

[24:51] park on the west side of the fence

[24:54] if you like. Of course, the marina side is currently not visible.

[25:00] It's an agonizing choice.

[25:01] It is

[25:03] we wanted to leave the ground as clear as possible.

[25:06] That's why we decided, basically,

[25:09] hang a complete wing to the west,

[25:12] on the park side, to try to preserve this view as much as possible.

[25:15] Then, as Todd mentioned earlier,

[25:21] It could be interesting and relevant in a project I think

[25:24] to put the building in a corner that touches as little as possible

[25:28] to the highlights of the site.

[25:32] In this case, it's certain that the park is a place where we wanted

[25:37] to intervene as little as possible.

[25:38] So to have the minimum impact.

[25:40] So it certainly limits a little bit possible locations.

[25:43] That's right, it's installed there, it's sure to cut

[25:45] part of the view on the boats, in the marina,

[25:48] but we tell ourselves that this is a way to discover this view

[25:53] in a second

[25:54] degree, in a second phase, in the background, to leave a little

[25:58] a glimpse of something, but to find out afterwards,

[26:01] there, in the background, is to make the pleasure last a little longer.

[26:05] So you're really inviting people to enter the building

[26:08] to be able to take -Yes, go through it, go under it

[26:11] and then discover it

[26:13] from a different angle that is not necessarily still there.

[26:17] Then the other aspect is around the perimeter of the building,

[26:21] in the 3D images we see

[26:24] the car park to the east,

[26:26] which is a good location for an area that is already mineralized.

[26:30] On the other hand, we have a building perimeter which is highly mineralized.

[26:35] You can see it in the second panel, so there's no,

[26:38] There's no green buffer zone there

[26:42] you know, with the same thing, -I would say

[26:45] that it's perhaps a question of perception.

[26:47] on image

[26:49] or uh.

[26:51] But in fact, what this large forecourt called the hold

[26:54] as I mentioned, which does when even a good width, which really

[26:58] aligned a little with the quays. You can feel it on the initial image, which is the aerial view.

[27:04] If I go back a little to that view, it sure keeps you busy

[27:07] a large part of the site,

[27:08] but the idea was to have islands vegetation.

[27:11] So we feel

[27:12] a kind of interweaving of the mineral and plant life through these areas.

[27:17] If it's in the background, you can see a little

[27:22] areas of vegetation

[27:26] which are gradually coming on board on that big square there.

[27:30] You can smell a bit of the boulevard, but we can also see

[27:36] a little on the south side finally, in connection with the marina.

[27:41] And then I'll give

[27:43] our landscape architect has his say who is with us.

[27:46] Since we've got him with us, Étienne maybe you could mention a few words

[27:50] in relation to this, on our intentions to clarify

[27:53] a little bit. Yes, in relation to landscaping

[27:57] in fact, what was desired is to have different calibres.

[28:00] We wanted to make you feel the building has been demolished

[28:04] in a green space, so we wanted to have seed,

[28:07] we wanted to have plants of greater calibre.

[28:09] So that's what's illustrated here. also on plants,

[28:11] then the wooded fringe along the parking.

[28:15] Basically, we're preserving

[28:16] This is clearly illustrated in the front section, there are mature trees that we are keen to

[28:21] and replant them mature trees.

[28:25] So there's something there we want to maintain.

[28:28] And between parking and

[28:31] the rug, the carpet that

[28:34] runs to the marina in the background, We also have drainage ditches.

[28:37] So there's vegetation that makes an interface between parking

[28:41] and the public square.

[28:45] Then if I can complete it too,

[28:48] why we wanted to offer a large place like this which is the hold?

[28:52] It's because you have in project planning,

[28:56] yes, the cultural centre, there's the library,

[28:59] but there is also all outdoor activities that

[29:02] we wanted to offer a space which made it possible to organise all kinds

[29:06] small-scale events, large-scale, and therefore to combine

[29:11] external events too around this library

[29:16] and the cultural centre to come concentrate activities a little more

[29:20] and perhaps keep the portion a more natural, greener park.

[29:27] So you might think that the great a square that juts out towards the marina

[29:30] can become the stage for events close to all amenities.

[29:34] We don't need come, encroach, break up the park.

[29:37] We don't have all the services nearby.

[29:39] So this big square here becomes highly flexible, versatile

[29:43] for markets public, the

[29:50] botany, etc.

[29:58] Thank you always on this ...(inaudible)...

[30:01] What is the coating material on the ground?

[30:04] On the front, What you see is a slightly darker grey

[30:07] and who ends up in the street?

[30:12] Yes, in fact we have, that's basically it

[30:15] there were screening surfaces

[30:17] in the background, gradually melting away with concrete surfaces.

[30:20] So we wanted to focus on accessibility

[30:22] universal on concrete surfaces, and then that, quietly,

[30:25] We had screenings and vegetation who came into the spaces.

[30:31] I'm in.

[30:31] So in this whole area, between the parking area and the pavement

[30:36] concrete, it's a screen, with

[30:39] with a mix of concrete paving stones and poured concrete.

[30:44] So it's all one.

[30:45] We wanted to feel like it was

[30:46] fingers, in fact, that were closing in on the square.

[30:50] So we really wanted to feel something something quite different.

[30:57] To return to

[30:59] Anna's question, relatively two-storey buildings.

[31:02] Well, I appreciated your comment on sloping roofs

[31:08] getting married or integrating with the residences on Ashton Street next door.

[31:14] But is the building here is going to be much higher

[31:18] than the residences on Ashton Street?

[31:20] Because I imagine that your ceilings.., do not have eight feet

[31:23] or nine feet high there, It seems to be quite high.

[31:27] Could you give me an idea of the height of the building

[31:30] in proportion proportionally with the buildings

[31:34] surrounding areas?

[31:41] Yes, that's for sure, that's for sure

[31:44] which, given the function

[31:47] which is institutional, the project is much more,

[31:51] even much higher and higher than the residences.

[31:53] So between the floors, we have three metres or 3.6 metres

[31:58] on the ground floor, then twelve feet,

[32:02] then about the same height at the bottom of the gables,

[32:07] then after that, we have the gables which are relatively crushed, if I may say so.

[32:12] So the total height would be in the region of I think...

[32:17] is

[32:18] eight metres, eight nine metres.

[32:23] Thank you for your time.

[32:25] Denis.

[32:29] Thank you very much for your presentation.

[32:34] My first question was with Melanie earlier.

[32:37] But I'd like you to tell us more generally

[32:41] universal accessibility.

[32:43] A two-storey building,

[32:45] says the staircase possibilities, things like that.

[32:47] But let's talk about the bigger picture, the building's accessibility.

[32:54] Well, I can start, so colleagues can support me afterwards. That's for sure,

[32:58] as I said earlier, to the In terms of location, it's a bit of an agonizing choice.

[33:02] Bringing back several functions

[33:04] upstairs, it's much the same, the same thing.

[33:08] For us, we definitely want to so that people can get upstairs.

[33:12] There is also a lift generous enough to climb it.

[33:17] Maybe even before that, from the car park

[33:20] from the street, there are still roads that are passable

[33:24] with solid coatings to be able to get to the building properly.

[33:30] The lift is located in an area

[33:33] quite visible despite its location.

[33:36] We have certain curves in the project too

[33:38] Both inside and out, to help people find their way

[33:42] and perhaps expand these spaces a little to make sure you have

[33:45] a beautiful, beautiful fluidity around the lift.

[33:48] Of course, you have to bring people together with reduced mobility upwards.

[33:52] Once it's done.

[33:54] Just now, I mentioned very briefly

[33:57] when I was talking about space for the children I have,

[34:00] that I named, although we've named the boat here,

[34:04] in the background, which is a little lower than the floor.

[34:09] This space was planned a ramp for access,

[34:14] So, in several places in the project, we have the ramps that are planned.

[34:17] We're still a long way off,

[34:19] comfortable widths too to be able to move around,

[34:24] er, rows of books and stuff.

[34:26] So it's a bit like this that we approached it from the outset,

[34:29] but maybe the, Emmanuelle, would you have anything else to say?

[34:33] to add to that. Yes, good,

[34:35] from the outset of the project, the idea of having the main axis that runs completely through

[34:40] the site from the street to the marina.

[34:43] The idea was to really create access for people with reduced mobility

[34:47] that they too can cross

[34:50] the whole park, the entire site,

[34:53] with easy access.

[34:57] So the slope is working very slowly to get to

[35:00] the marina.

[35:01] Then, as Olivier said inside,

[35:06] the idea of bringing the library completely on one level.

[35:10] Usually, we could have put it on a single level

[35:11] on the ground floor, but there, we decided to put it on a single level

[35:15] to be truly in the tree canopy.

[35:18] But it also makes it possible to have all sections,

[35:20] all areas of the library on the same floor.

[35:24] So it was also to ensure a relative with reduced mobility,

[35:29] can be in the same section than her child, then wander

[35:33] to the adult section, but in the same

[35:38] the same visit

[35:39] so to speak. Thank you for your reply!

[35:42] Second question.

[35:45] I may have a blank,

[35:46] but I don't remember seeing a harbour master's office to welcome

[35:49] boaters.

[35:52] Were any planned?

[35:57] In fact, you need to refer to the

[36:00] main location

[36:02] which can be seen here. So the harbour master's office is

[36:05] located in the lower part of the site.

[36:08] So it's certain it's not something we've developed

[36:13] as part of the project. We wondered about this at the outset

[36:17] on the importance that would be given in the front line just like that.

[36:20] So we located it in ...(inaudible)... we found that it could be an interesting place precisely

[36:25] to close up a little that big square by the marina.

[36:29] When you think of the events that could be held in this space

[36:32] there. So to come a little partitioned one side to have a little technical access on this side.

[36:38] But that's it, you don't have

[36:40] I've missed out on a lot of content in relation to this.

[36:44] We've put it on standby for the time being,

[36:45] but we'd love to to develop further.

[36:47] So, I think it's a project in itself that deserves to be observed

[36:51] We just didn't want to provide too quickly,

[36:54] without having really studied it.

[36:57] Because harbourmasters' offices in other countries

[36:59] projects for us means As I say, it's a project in itself.

[37:02] He was still in the foreground

[37:05] including the image of the lake,

[37:07] we thought we'd put it here, but that's not the case. could also be modulated differently.

[37:11] Maybe.

[37:12] It is an integral part of the project. But the idea is worth bearing in mind,

[37:16] is that this harbour master's office would be connected to the Grande Cale,

[37:20] so she too could be part of the liveliness of the square.

[37:25] You might think of large doors which open onto the square, then

[37:31] for kayak hire or

[37:32] outdoor mechanical workshops or repair.

[37:36] So really, the idea is to create a kind of pole

[37:40] core business outside in connection with the café too,

[37:44] the bistro, the restaurant, perhaps, future restaurant.

[37:48] So there's the terrace on this.

[37:50] So really create an animation, a hub of activity in this sector.

[37:55] Thank you very much for your time.

[37:59] Yes. In fact, I want to,

[38:04] I love, love that you have a flagship axis in the centre

[38:08] which basically indicates that the link

[38:14] the most present access to the site is on Beaconsfield Boulevard,

[38:19] there are a lot of people who are going to be by car and then by bike.

[38:23] Can you.

[38:27] Maybe talk about the entrance, the choice to have

[38:30] the covered side entrance.

[38:34] I'd just like you to expand on that.

[38:42] Well, for us, the entrance

[38:42] should be at the heart of the project. That's the first intention, really.

[38:46] at the level of the patella, at the junction of these

[38:50] some very interesting ideas.

[38:53] We then know that according to the design, when we have,

[38:56] we developed the shape in depth, whether we

[38:59] we were moving it forward, if we, for example, thought

[39:03] perhaps place it covered under the north wing.

[39:07] In the background, we have a strong appeal

[39:08] on the north wing moving towards the boulevard.

[39:11] We thought maybe we'd put it here, but it really was a team choice.

[39:16] We're going to keep it right at the heart of the project.

[39:18] And we didn't necessarily want bring fireworks or

[39:21] additional canopies or elements that could slightly distort

[39:24] a very simple form.

[39:28] So the choice became natural for us to place it below.

[39:32] But at the same time, you said

[39:35] that the North-South axis was clearly defined in our project.

[39:37] I think that the fact of wanting to move people around

[39:41] a good one can come from just about anywhere.

[39:42] We understand that it will arrive

[39:43] the park that's about to arrive, the bus and even the car park,

[39:47] but eventually it's to get them into this space

[39:50] which is extremely important to us, the one under the overhang.

[39:54] Well, I missed a bit of time earlier on

[39:56] to talk about it in the cup.

[39:58] I said it quickly that the space was still comfortable

[40:01] underneath, we imagined hammocks and all that.

[40:04] It's a space we'd love to show you in images, but we were still limited

[40:09] in the number of images.

[40:10] There are several spaces

[40:12] that we explored internally, we'd like to introduce to you.

[40:15] But a choice had to be made still there, heartbreaking to say where we put

[40:19] energy.

[40:20] But that's it, we think that arriving this way, then enter

[40:23] under the covered part which, we think is interesting.

[40:26] Perhaps I'll just quickly add

[40:30] several years ago, when we saw

[40:31] spaces also under

[40:34] floors like that, it could make a bit scary. But with the width of the wings,

[40:39] we're talking about fourteen-metre wings which, when all is said and done, aren't very large,

[40:43] we think it's an interesting space to have

[40:46] natural light coming in, a little draught.

[40:48] Then there are spaces that we think are very relevant

[40:51] today with the heatwaves that we experience from time to time,

[40:54] we're certainly living hot days on a regular basis,

[40:58] and just about everywhere. I think it's a space that could be of interest,

[41:02] and then get people to go back that way,

[41:03] I think this could make sense, but it's a conceptual choice.

[41:07] It is.

[41:09] There were

[41:10] the idea of connecting this entrance with the park, so

[41:15] not just have a street entrance, but a park entrance.

[41:18] So people like Olivier said, coming from everywhere.

[41:21] It could be a walker out for a stroll along the water, bringing the project upstream,

[41:26] who also sees the entrance, when people, teenagers are on their way

[41:30] secondary school, they'll catch a glimpse of him across the park,

[41:33] then the curve which is located on the, more towards

[41:37] the north wing will also bring people on the move

[41:41] along the project to enter

[41:44] to the under the overhang towards the entrance.

[41:54] Thank you Olivier, thank you Todd for your presentation.

[41:59] I think Olivier

[42:00] I'm going to talk about choices, wishes and so on.

[42:03] Because it's something that happens You can't show everything in every competition.

[42:08] I am, I am.

[42:10] So it's choices, but choices say something because it allows

[42:15] when

[42:15] look at the signs, the thing that you can't see.

[42:19] Almost all your spaces and libraries

[42:22] in narrow wings with a gable.

[42:26] It's all in there,

[42:28] but you can't see them.

[42:31] You can see that the ball joint is full of times, can't you?

[42:35] And I

[42:37] one thing I appreciated A lot of your project is here,

[42:41] that's the point of taking an architectural approach vernacular and make it contemporary

[42:45] And no, you're not the first to try to do this, but it's commendable

[42:49] and very appropriate for this competition.

[42:52] That said, I'm asking the question, perhaps you can,

[42:55] you've made choices, we didn't show this, but you see

[42:58] how these spaces, is Are we looking at cathedral ceilings?

[43:03] Are we showing the shell below the bow of the boat?

[43:08] Because I think everything is going to happen there, in the end, apart from the entrance, the kneecap,

[43:13] any

[43:14] life in the library will take place in these wings,

[43:17] in these gables.

[43:20] I would say to you that there are prospects

[43:23] who were

[43:24] one of which was compulsory, the hall.

[43:27] So I would say

[43:31] the one in the hall, we tried out several versions. it was really important to feel that the hall was

[43:35] not just on the ground floor. It was really on two levels. The staircase, the agora

[43:43] even though we see them in several projects,

[43:45] in ours,

[43:46] it still felt interesting, its location and shape.

[43:50] We really wanted to give the impression

[43:52] airspace.

[43:54] Good,

[43:56] I mentioned verticality a little while ago

[43:59] For us, this was an important image to show.

[44:02] In the sense that from the outside, I think everyone feels

[44:05] that the project is very, very horizontal.

[44:07] We deliberately stretched the wings in the landscape and everything,

[44:10] but I think that having an interior open like that

[44:14] a surprise effect that we wanted to create.

[44:16] So for the choice of that was an interesting perspective

[44:20] I also said in my presentation that the

[44:22] the boat with the children's area was a space that,

[44:26] I think we were keen to develop. Which for us is

[44:29] very interesting. To bring young people, parents and their children together in the same way.

[44:33] in the library. Then the way we presented it,

[44:39] it was one side to show that experience.

[44:41] I think it's inviting all the same.

[44:45] It really is, to use your words

[44:48] where we really wanted one more perspective or two,

[44:52] was in the stretched wings, including the adult sector, the

[44:56] teenager. The first question is who talked about the reading zone

[45:00] the adult/teen corner

[45:03] that happens in the big pillar. It's a space we've been exploring.

[45:08] We've decided to present it to you briefly in a cup, so that we can say

[45:11] OK, we suggest it to people, but you have to You have to work with us to see it.

[45:18] Then I'll tell you

[45:21] than the other image you would have liked see into the wing to feel the cathedral ceiling,

[45:26] we decided as a team to present in the bioclimatic section,

[45:30] so I didn't say much about it earlier, because I felt that time was running out,

[45:33] but for us, this cup spoke volumes when we ...(inaudible)...

[45:38] because you can feel the calibre of the space, you can feel the height of the ceilings.

[45:42] That's part of our intention. That these spaces

[45:46] there in the big wings,

[45:47] with the exception of more administrative, but the

[45:50] library, if you like, would be treated as a ceiling cathedral. So to get a feel for the height,

[45:54] feel the shape of the roof and also to allow you to feel the curves

[45:58] when you arrive at the level of the patella.

[46:01] Then little by little

[46:04] as indicated

[46:06] in the planks at ceiling level

[46:09] we can imagine ceilings with a treatment acoustics, so flexible, acoustic ceilings,

[46:13] which could be used to round out the financial picture surfaces to limit a little

[46:18] the acoustic discomfort that could perhaps be imagine yourself in an open space like this

[46:22] in a cathedral, but... So, we would have liked to show you all these images that are in our heads

[46:27] and in our computers already, but...

[46:30] And that's it.

[46:31] Thank you very much for your time.

[46:39] I'm going to ask my question in English so that Mr Saunders has a chance to answer it, as he's come all the way here.

[46:45] Don't worry Philippe, I'll repeat it in French later.

[46:50] So..,

[46:51] I think the maritime reference works well in your project,

[46:55] in a subtle architectural language, not a memetic or metaphorical one,

[47:03] as a metaphor, which I think is always an issue,

[47:06] because architecture is not a metaphor for something else. Architecture is what it is.

[47:11] I particularly appreciate the

[47:13] entrance sequence.

[47:14] I think if you are going to float the building above the landscape,

[47:17] you need to program the underside of the building.

[47:20] I don't share your love of being under a building in a Nordic country. And I know

[47:25] that you've built successful experiments witht that.

[47:29] But I think they need to be programmed

[47:30] So I think that the way it frames the entrance works particularly well.

[47:34] So the question is a functional one, that was really raised by the Technical Committee,

[47:42] which is: you have on the ground floor all the animation and cultural functions,

[47:46] which are supposed to work autonomously.

[47:48] And you would think it's easy, you have the library above,

[47:51] but how do you actually separate the two when the library

[47:53] is closed? Where does the closure happens

[47:56] between the two functions?

[47:57] So that's one question. And what is this material that we see in the part

[48:04] in the striated part of the white ceiling?

[48:06] So the question

[48:07] at functional level, is how you separate

[48:10] the cultural area on the ground floor when the library is closed in the evening.

[48:14] And in terms of materiality

[48:17] what is the materiality of the striated part and the curved part?

[48:19] we see...(inaudible)...

[48:22] Thank you, I'll answer the question. The material on the ceiling? -Yes.

[48:27] We originally drew, like wooden slats

[48:31] but when we looked at it, it was put in

[48:34] a different material for the roof.

[48:37] All we want is for the materials to have the same direction as the flow of the curves.

[48:42] In fact, that's what I was saying just now.

[48:44] It is

[48:46] in these spaces.

[48:47] We work with a ...(inaudible)...

[48:49] which is glued directly on gypsum, then it's this point

[48:53] we're going to make the strap thinner, a little to be able to.

[48:58] No, it's not an MDF, it's a bit like an acoustic ceiling panel,

[49:02] but which is a little more flexible, that sticks.

[49:06] So this was included in the estimate and in the drawings.

[49:11] Yes, I think what we've done is we've cut it off

[49:14] Like the ceiling here at the moment, it's all the same

[49:17] So you watch it once and that's it.

[49:20] But what we want to do is have three or four widths

[49:24] And when you walk in, it's always different. So our eyes are always looking at something different.

[49:30] -And the curve is read from the outside in.

[49:32] Yes, If you look at my projects in Norway,

[49:36] you can see the wood on the roof going outwards

[49:39] and the building doesn't stop when the window ends. It goes on.

[49:44] It's more of a visual effect. It's like the Banshee effect.

[49:50] It's a very simple thing to do.

[49:52] Er, the other thing... -It's a good Rock n' Roll reference...

[49:58] for anyone over 50 (laughs).

[50:02] Closing time is very interesting. It came at the end when we realised we had to close in the evening.

[50:09] And last week I was in Halifax and

[50:11] Schmidt Hammer Lassen of Copenhagen have made the library

[50:15] and I went to see what they had done,

[50:17] and they have this folding door with rods

[50:24] They just pull it and it can take all sorts of forms.

[50:29] Would it be installed below or above? - Upstairs on the second floor.

[50:33] So the stairs remain partly... -The stairs remain, I don't know if you have the perpesctives,

[50:40] The staircase is actually a room, not a staircase.

[50:43] That's another thing I'm trying to do, not do

[50:46] and things like that. So, the staircase

[50:49] it's a meeting place

[50:51] We've also done this on the edges of windows, for example.

[50:55] The windows are the same width as the shelves.

[50:58] Then you can sit on the windows. You don't have to buy any furniture.

[51:01] So we try to combine two functions into one all the time

[51:05] But to answer your question,

[51:07] it's a simple

[51:08] -It's like a commercial door

[51:11] -Yes, it's like being in a shopping centre and sad to say, but

[51:15] If you have the project you can call me and get a better...

[51:17] (laughs)

[51:19] If there are architects out there with better ideas.

[51:23] These are things you notice after you've designed the project.

[51:28] If we had held this competition in Scandinavia

[51:30] we would have taken six months,

[51:33] and it's incredible how much work we've done in such a short space of time

[51:36] And all the other teams and the work you've done, it's incredible!

[51:42] Hard at work (laughs)

[51:46] Do I need to translate where?

[51:49] ...(inaudible)...

[51:55] Very, very briefly

[51:58] in fact, at the control level, The library is really upstairs.

[52:03] So we want to keep the central staircase as much as possible.

[52:06] So the kneecap.

[52:07] But control takes place at a higher level.

[52:09] Then there are different possible systems

[52:12] Todd explained that this would probably be just rails closing off the space

[52:17] with a rather commercial curtain.

[52:18] This could be explored.

[52:20] Alternatively, you can also discuss of the ceiling cladding,

[52:24] in strips, which allow them to fit perfectly

[52:27] curves and all. ...(inaudible)...

2024-07-02 - L’étrave : tisser sa communauté

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