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1-2, 1-2 test!

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Good evening. At this hour we can say good
night

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Good evening everyone.

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It gives me a certain pleasure

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personally and to my team for being here with
me

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to introduce you to our project,

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I'd like to quickly introduce you to the members
from my team who completed the study.

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So we have Simon at the back, Simon Trudel
is an engineer

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a company representative of Stantec. Étienne
Binette

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who is a representative of the firm Option
Design

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to his right Régis Lechasseur associate with

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Bourgeois Lechasseur architectes

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then there's Emmanuelle Champagne, architect,
working with us at the firm

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Bourgeois Lechasseur and to my left here

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-can you still hear me?

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On my left is Todd Saunders who has just arrived

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from Norway to be with us today.

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So that's where we can start.

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To begin with, I'm going to let Todd has his
say

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I'll take the microphone afterwards to translate
his words

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and completed the presentation

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So we'll just

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if time permits

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I'm making a very quick return for explain
our impression.

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When we go to see the ground, the site for
the first time with the team.

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We felt really privileged to be able to have

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access to such a magnificent site

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What we found particularly interesting surprised

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and impressed

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it's a bit like trees coming of age, so we
expected to arrive here

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and to be in a very, very dense park

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Arriving from the boulevard, we could already
see

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the lake through the trees.

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So...,

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we saw that the tree canopy which is very,
very high.

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Then it leaves a nice permeability to catch
a glimpse of the lake.

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So this is something that struck us on arrival

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Then we took a quick stroll

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through the terrain, rather quietly across
the field

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gradually descending towards the sandy area,
we discovered the marina

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which was nevertheless hidden

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as you know, at the finish

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we discovered at the marina all the at

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maritime site too

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there are several possibilities to let local
people discover it

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between the two sides of the site

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for us this barrier was confusing

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to enable the site to

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To unify.

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To see the very tall trees it allows us to
imagine

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a library can be suspended

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somewhere between these two heights

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firmly rooted in its terrain, to its site,

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but it also needs to be warm, airy and welcoming.

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I'll let Todd explain the concept

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in English and I will take the floor for what's
next.

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Yeah.

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I, I'll be speaking in English.

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Good for you! So much the better!

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Oh yes, Beaconsfield!

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I just want to thank you for coming out tonight.
It's really nice weather up there.

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and

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I'll be quick. I wanted to tell you I'm actually
Canadian.

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I grew up in Newfoundland

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and I did my master's at McGill

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and last year I did a lecture at McGill. I
was here in September.

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I want to talk about why I wanted to do this
project.

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Because I'm about to move back to Canada.

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I had been almost 30 years in Scandinavia

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building up a practice. I worked all around
the world.

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and have done about 15 projects in Canada

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The Fogo Island hotel is probably the most
well known,

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and now we are wrapping up a visitor centre
in northern Maine.

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It's probably the best building I've ever done.

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And the main reason I want to, I want to thank,
Olivier.

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He came to my office to work for a very short
time,

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and made a big impression on me.

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We get a lot of people from all over the world
coming at us

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right in the middle of the project, his grandfather
was about to die

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and flew back to the Îles-de-la-Madeleine

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and I thought we'd never see him again

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And he came back after his grandfather died

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and finished the project he was working on,
paid for his own plane ticket and everything.

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and it was about taking responsibility.

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I think that's why it's been really nice, working
with him.

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And it's actually kind of fun of watching an
employee get really, really good.

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And, it's kind of scary too.

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I'll be quick, over the last 29 years in Scandinavia,

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there's one thing I've been trying to do,

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and that's what the Scandinavians taught me:
how to make

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complicated things very simple.

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And architecture within the rail and instruction
manuel

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and everything else is often done poorly.

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is often poorly done.

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And what we did

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here tonight, -there's a button there?-

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It's quite simple. We have a street to relate
to,

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And we have water to relate to

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a park to relate to and a neighbourhood to
relate to.

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Four parts.

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And when you're playing around,

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to make people walk on the rough and and do
all sorts of things

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But we've simplified it

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in one piece that works.The water,

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a piece that works atthe street

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a piece that works in the neighbourhood

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and another in the park

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So we got our legs in each each part of it

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right there.

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Another thing we wanted to do, we didn't want
to put it

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in the park.

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And what I try to tell my clients is to build
in the worst place on the site

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possible, because then you protect yourself

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We didn't want to touch anything, we wanted
to be very hands-on.

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careful with the park landscape

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you can see our other projects that we barely
distrub

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the landscape. We work around trees.

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Here we wanted to go out

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Another thing we wanted to do

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Steve is our landscape architect

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and I'm very excited that we work together

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Steve is from Quebec

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And then how can I create like a town square

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or a palazzo or a meadow courtyards

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So that's it,

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we had this idea of making a large carpet,
you know,

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in the landscape

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not that it'd be a lot of extra cost,

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but we just wanted to create this space. So
it was the second part.

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I think I've been noticing the libraries in
Scandinavia, prior

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to when I started my own little office, I didn't
have much money to have an office

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so I was working in the library in a small
town.

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There were always people meeting and drinking
coffee and the kids coming after school.

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And reminded me of this, how nice that building
was.

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And it's not just a library. It's kind of like
a living room for the whole community.

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And Beaconsfield is a unique place

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We want to make this library a community building

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That's why we went with a pitched roof.

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We couldn't have done a flat roof from the
ground.

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

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I'd like to do something that looks like a
house.

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Which is a large house for everyone.

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And this is why we went with the pitch.

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Roof will probably make things more expressive,

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more modern

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but it's a very simple structure.

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And the exterior, the doors...

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when you go inside a house

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Where I grew up in Newfoundland, he first thing
my grandmother would ask me is

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"Would you like a cup of tea?"

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And this is the feeling I got when I was going
to libraries in Scandinavia

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"Oh there's a cafe!"

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There were always nice baked goods,

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and it was this great feeling to go in there

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Like when I lived in ...(inaudible)... and
I used to go into these bakeries.

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Youknow, your neighbourhood smell the coffee
on this bakery.

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Build this instead of a public building,

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a place where you want to meet.

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The ground floor is for everyone

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And, you know, in the summer you can go here
in the morning

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Watch the morning sun.

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In the evening, you could be here.

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But the ground floor

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it's like a complete guided tour. You come
in

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people greet you

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and then you go upstairs

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to see the rest of it. And then from above,

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you can see the whole landscape

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in all four directions.

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I just want to thank you and I'll give the
floor back to Olivier. Thank you, Olivier!

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I'll translate...(inaudible)... I'll keep it
short anyway.

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to avoid too many repetitions.

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I'm going to skip ...(inaudible)... the part

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on personal experience, about what he said
about me too.

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I think that, yes, in the room I think that
everyone has understood.

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He is of Canadian origin to make a long story
short.

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He is currently working on several projects
in Canada

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We met several years ago because I worked with
him at Brigade in Norway.

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and I'll come back to the project to be sure
that you understand.

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In essence, Todd's comments were ...(inaudible)...

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why make a complicated project

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when you can make it very simple

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We decided in the first part to go there with
a project

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easy to ...(inaudible)...

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so very Cartesian if you like, with

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axes that extend on both sides

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of the park to weave

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all major areas of this magnificent site.

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If I quickly explain what's going on on a field
...(inaudible) which advances...(inaudible)...

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Which you can see here,

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which stretches ...(inaubidle)... along the
boulevard

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in continuity with this ...(inaudible)...

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north-south entrances that stretch out

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on the marina side, on the lake side and on
each side, including on the east side,

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you can see ...(inaubible)...

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clarify and extend the parking area a little,
slightly more technical traffic

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and then on the other side it's the angle that
really stretches out into the landscape,

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through the trees. So more air which comes

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stretch like this and

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and then

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Todd has also already spoken

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the opportunity to work in the field.

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So we worked very hard to create from the outset

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to bring you this great plaza as it was called.

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...(inaudible)... we called it "The hold".

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under the influence of the sea the chocks a
little,

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the dry docks for boats that could be found
all over the top

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of the St Lawrence at one time.

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...inaudible...

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from the boulevard to the lake

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...(inaudible)... and passing by through or
under the building.

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More links

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east-west where we go

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that is coming to rake the second part of the
site.

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...inaudible...

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Maybe just to make you understand,

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the main entrance to the building is

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...(inaudible)...

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...(inaudible)... suspended

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...(inaudible)...

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I guess time flies and I'm going to try to
get through it

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of all the slides.

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...(inaudible)...

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The project that will find the axes, as I said
earlier.

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...(inaudible)...

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...create a surprise effect, through a certain
verticality.

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So the ...(inaudible)...is really ...(inaudible)...

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of the building, which is right in the heart

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...(inaudible)...the kneecap to enable

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the right direction people through different
functions

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of the project, be it the cultural centre or
the library

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...(inaudible) we find

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a staircase that can be used as an agora

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the staircase of possibilities

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which refers to certain daydreams

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So it's more ...(inaudible)...

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...(inaudible)...

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...(inaudible)... so that people can sit on
the stairs.

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Then take advantage of any ...(inaudible)...

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...(inaudible)... which is created as part
of the project.

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And on the inside too, I don't I didn't mention
earlier,

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...(inaudible)...

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to break the rigidity

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...(inaudible)...

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inside the curve we see on the ceiling

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So that gives a certain dynamism to the project.

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Then, ...(inaudible) direct people

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...(inaudible)...in certain sectors...(inaudible)...

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the first reception of the project on the ground
floor.

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So the welcome is quite visible, on entering
the building, which can be used

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also a small bistro

252
00:13:30,000 --> 00:13:33,000
on certain occasions which are more likely
to occur indoors.

253
00:13:33,000 --> 00:13:36,000
Then there's the warmth which is accentuated
by

254
00:13:36,000 --> 00:13:39,000
wood, which is very present within the project.

255
00:13:39,000 --> 00:13:43,000
...(inaudible)...at the heart of the project.

256
00:13:46,000 --> 00:13:49,000
The following document provides a brief summary.

257
00:13:49,000 --> 00:13:53,000
it was really to illustrate ....(inaudible)...the
ground floor ...(inaudible)...with the floor.

258
00:13:53,000 --> 00:13:56,000
...(inaudible)...so we can see that

259
00:13:56,000 --> 00:14:01,000
...inaudible... on the park side. ...(inaudible)...

260
00:14:01,000 --> 00:14:03,000
lift this section of the building

261
00:14:03,000 --> 00:14:06,000
...(inaudible)...

262
00:14:06,000 --> 00:14:08,000
...(inaudible)...

263
00:14:08,000 --> 00:14:18,000
...(inaudible)...

264
00:14:18,000 --> 00:14:21,000
The heart of the project to distribute

265
00:14:21,000 --> 00:14:24,000
people in certain sectors

266
00:14:24,000 --> 00:14:27,000
Next image.

267
00:14:27,000 --> 00:14:30,000
Without going into too much detail in the organization
of the plan,

268
00:14:30,000 --> 00:14:34,000
And I think this image speaks for itself also
a lot. It's an image

269
00:14:35,000 --> 00:14:38,000
which again represents the heart of the project,
but at a higher level?

270
00:14:38,000 --> 00:14:41,000
So we feel the opening in the circular floor

271
00:14:41,000 --> 00:14:44,000
to make eye contact interesting about what's
going on down there.

272
00:14:46,000 --> 00:14:48,000
So there's already a glimpse of the agora.

273
00:14:48,000 --> 00:14:51,000
Then there's contact too very present on the

274
00:14:52,000 --> 00:14:55,000
second reception on the first floor who ...(inaudible...)

275
00:14:56,000 --> 00:14:59,000
...(inaudible)...library and then

276
00:14:59,000 --> 00:15:03,000
in this image that we have of openings onto
the cultural landscape

277
00:15:03,000 --> 00:15:07,000
of certain places which is a bit of a frame
different views of the landscape.

278
00:15:08,000 --> 00:15:12,000
And then there's also the desire to live outside
the project.

279
00:15:12,000 --> 00:15:15,000
So there are a few books who are exposed

280
00:15:16,000 --> 00:15:20,000
with windows that are inhabited too, which
are

281
00:15:20,000 --> 00:15:24,000
...(inaudible)... in relation to the ground
so that you can sit down and read.

282
00:15:27,000 --> 00:15:30,000
Next image,

283
00:15:30,000 --> 00:15:34,000
...(inaudible)...the summary aspect of what's
going on...(inaudible...)

284
00:15:34,000 --> 00:15:35,000
So..,

285
00:15:35,000 --> 00:15:38,000
the project takes on much greater importance
in floor space.

286
00:15:38,000 --> 00:15:42,000
It is on this floor that we mainly find the

287
00:15:42,000 --> 00:15:47,000
areas of the library. So the reading areas,
the sections...(inaudible)...

288
00:15:48,000 --> 00:15:50,000
on the image on the left, which is the wood
side,

289
00:15:50,000 --> 00:15:54,000
It's really the wing that stretches across
the landscape which corresponds to collections
of

290
00:15:55,000 --> 00:15:57,000
teenagers and adults.

291
00:15:57,000 --> 00:15:59,000
Ending on a balcony

292
00:15:59,000 --> 00:16:02,000
who would really be...(inaudible)... in the
forest.

293
00:16:04,000 --> 00:16:06,000
On the east side there are spaces

294
00:16:06,000 --> 00:16:12,000
which are ...(inaudible)...the computer laboratory,
a number of meeting rooms.

295
00:16:12,000 --> 00:16:16,000
And a space that is also ...(inaudible)...towards
the end.

296
00:16:16,000 --> 00:16:19,000
Oh sorry, I stole the punch!

297
00:16:21,000 --> 00:16:23,000
...(inaudible)... Right here,

298
00:16:27,000 --> 00:16:29,000
...(inaudible)...

299
00:16:29,000 --> 00:16:32,000
...(inaudible)...at the start of the project

300
00:16:32,000 --> 00:16:37,000
...(inaudible)... upstairs,

301
00:16:38,000 --> 00:16:41,000
We imagined a fairly comfortable space with
a beautiful view

302
00:16:41,000 --> 00:16:44,000
on the lake.

303
00:16:44,000 --> 00:16:46,000
...(inaudible)...

304
00:16:46,000 --> 00:16:48,000
So the...(inaudible)...which is located

305
00:16:48,000 --> 00:16:51,000
intervention

306
00:16:51,000 --> 00:16:54,000
...(inaudible)... with a great view view of
the lake.

307
00:16:56,000 --> 00:16:57,000
Whether in the north,

308
00:16:57,000 --> 00:17:00,020
or in the part of the ...(inaudible)... administrative
spaces are more

309
00:17:00,020 --> 00:17:02,020
who ...(inaudible)...

310
00:17:02,020 --> 00:17:06,020
The south wing...(inaudible)...

311
00:17:06,020 --> 00:17:11,020
...(inaudible)...

312
00:17:11,020 --> 00:17:13,020
...(inaudible)...previous

313
00:17:13,020 --> 00:17:16,020
you've seen. In the background this is the
space we call "the boat".

314
00:17:16,020 --> 00:17:20,020
in our project design. The small space that
is ...(inaudible)...

315
00:17:21,020 --> 00:17:23,020
...(inaudible)...

316
00:17:23,020 --> 00:17:27,020
So we go down a few steps forward to reach
this level.

317
00:17:27,020 --> 00:17:32,020
And that's what brings us to the bottom, ...(inaudible)...
fairly well framed

318
00:17:33,020 --> 00:17:34,020
...(inaudible)...

319
00:17:34,020 --> 00:17:38,020
comfortable with a ...(inaudible)... very warm
...(inaudible)...

320
00:17:39,020 --> 00:17:42,020
And it's a very flexible space that the children
can easily appropriate

321
00:17:42,020 --> 00:17:45,020
to play while their parents on the periphery.

322
00:17:46,020 --> 00:17:49,020
...(inaudible)...

323
00:17:49,020 --> 00:17:52,020
who we really liked.

324
00:17:53,020 --> 00:17:56,020
Also outside with some peripheral elements.

325
00:17:56,020 --> 00:17:58,020
We're not going to circulate all around this
room.

326
00:17:58,020 --> 00:18:02,080
...(inaudible)... at the extremities of our
zone

327
00:18:02,080 --> 00:18:05,080
for children who...(inaudible)... on their
balcony,

328
00:18:05,080 --> 00:18:08,080
facing south with the view of the lake.

329
00:18:10,080 --> 00:18:13,080
...(inaudible)... in the entrance...(inaudible)...

330
00:18:14,080 --> 00:18:17,080
to introduce you to the Beaconsfield side.

331
00:18:18,080 --> 00:18:21,080
At the start of the project we had the intention
that the project should be ...(inaudible)...

332
00:18:21,080 --> 00:18:25,080
...(inaudible)...also for pleasure boaters,
people arriving by boat.

333
00:18:25,080 --> 00:18:27,080
So it's something that touched me

334
00:18:27,080 --> 00:18:30,080
personally. Then we thought it was important

335
00:18:31,080 --> 00:18:36,080
to work on it. Then...(inaudible)... maritime
influence we had in the project.

336
00:18:36,080 --> 00:18:40,080
...(inaudible)... reference perhaps large boathouses.

337
00:18:40,080 --> 00:18:43,080
You can see this in the shape of the building.

338
00:18:43,080 --> 00:18:47,080
Then feel the south wing stretch out the landscape.

339
00:18:47,080 --> 00:18:52,080
That goes on and on cantilevered.

340
00:18:52,080 --> 00:18:54,080
...(inaudible)...

341
00:18:55,080 --> 00:18:58,080
which is treated a little in the image of certain
large quays

342
00:18:58,080 --> 00:19:00,040
...(inaudible)...

343
00:19:00,040 --> 00:19:03,040
A large maritime vessel that could get very,
very close to the water.

344
00:19:06,040 --> 00:19:07,040
-Two minutes to go. -Perfect!

345
00:19:08,040 --> 00:19:11,040
Quickly, that's the more technical side.

346
00:19:12,040 --> 00:19:15,040
It's the space...(inaudible)...under the overhang,
...(inaudible)...adults.

347
00:19:16,040 --> 00:19:18,040
So, a very comfortable space.

348
00:19:18,040 --> 00:19:20,040
...(inaudible)...with the coolness of the park.

349
00:19:20,040 --> 00:19:25,040
Very close to the ground, people could sit
back and enjoy the cooler hours.

350
00:19:27,040 --> 00:19:30,040
As there are two minutes left,

351
00:19:30,040 --> 00:19:31,040
I'm going to speed things up a little.

352
00:19:31,040 --> 00:19:35,040
It's important to show you the Beaconsfield
side.

353
00:19:35,040 --> 00:19:37,040
From the boulevard,

354
00:19:37,040 --> 00:19:39,040
is what the building is designed to look like.

355
00:19:39,040 --> 00:19:42,040
A reference too, perhaps more residential language.

356
00:19:42,040 --> 00:19:46,040
...(inaudible)...

357
00:19:46,040 --> 00:19:50,040
understand the project and appropriate it a
little more quickly.

358
00:19:50,040 --> 00:19:53,040
So, a very ...(inaudible)... building with
wooden facades.

359
00:19:53,040 --> 00:19:55,040
tin roofing

360
00:19:55,040 --> 00:19:59,040
transparency too through the building.

361
00:19:59,040 --> 00:20:02,000
On the right-hand side of ...(inaudible)...

362
00:20:03,000 --> 00:20:06,000
...(inaudible)... Let me come back to this
image.

363
00:20:06,000 --> 00:20:08,000
I just wanted to mention

364
00:20:08,000 --> 00:20:11,000
that in the project ...(inaudible)... we wanted

365
00:20:11,000 --> 00:20:14,000
an inspiration, a little drawn between

366
00:20:14,000 --> 00:20:16,000
the maritime side,

367
00:20:16,000 --> 00:20:18,000
the more natural side of the park.

368
00:20:18,000 --> 00:20:23,000
So looking to create a building a little a
little out of balance through these elements.

369
00:20:23,000 --> 00:20:26,000
The title of the project is "L'étrave".

370
00:20:26,000 --> 00:20:29,000
Because it's

371
00:20:29,000 --> 00:20:32,000
when we filed our first application,

372
00:20:32,000 --> 00:20:35,000
the...(inaudible)... came out with a text by
a Quebec artist

373
00:20:35,000 --> 00:20:37,000
you know: Gilles Vigneault.

374
00:20:37,000 --> 00:20:40,000
It was one of his most important texts

375
00:20:40,000 --> 00:20:44,000
called L'étrave. Then for your understanding

376
00:20:44,000 --> 00:20:47,000
the bow is part of the boat

377
00:20:47,000 --> 00:20:50,000
...(inaudible)...

378
00:20:51,000 --> 00:20:53,000
depending on the weight of the boat

379
00:20:53,000 --> 00:20:56,000
...(inaudible)...would catch the wave ...(inaudible)...it's
an in-between at the end of the day.

380
00:20:56,000 --> 00:20:59,000
Then we thought it represented our project.
So we took the bow.

381
00:21:00,060 --> 00:21:03,060
Thank you very much for listening.

382
00:21:18,060 --> 00:21:21,060
Hello, hello!

383
00:21:22,060 --> 00:21:22,060
Hello?

384
00:21:22,060 --> 00:21:25,060
Hello?

385
00:21:28,060 --> 00:21:31,060
Hello.

386
00:21:37,060 --> 00:21:37,060
Hello?

387
00:21:37,060 --> 00:21:40,060
Hello?

388
00:21:40,060 --> 00:21:40,060
I'd have to

389
00:21:40,060 --> 00:21:47,060
sing!

390
00:21:51,060 --> 00:21:52,060
Okay. Well, that's fine.

391
00:21:52,060 --> 00:21:55,060
So... Thank you very much for the presentation.

392
00:21:55,060 --> 00:21:57,060
I had a question.

393
00:21:57,060 --> 00:22:00,020
I probably didn't the chance to mention it,

394
00:22:00,020 --> 00:22:03,020
but in relation to the reading room for adults.

395
00:22:03,020 --> 00:22:06,020
So I was very curious in relation to this.

396
00:22:06,020 --> 00:22:08,020
Firstly, how do you get there?

397
00:22:08,020 --> 00:22:10,020
Then what is it vision of this room?

398
00:22:16,020 --> 00:22:19,020
Yes, in the room, the room you're talking about,

399
00:22:19,020 --> 00:22:23,020
it's the room that goes down, the pillar leading
down into the park.

400
00:22:23,020 --> 00:22:26,020
In fact, we combined

401
00:22:26,020 --> 00:22:27,020
the site.

402
00:22:27,020 --> 00:22:32,020
In fact, the outcome is within this element
and.

403
00:22:32,020 --> 00:22:36,020
But the adult reading room, access directly
from

404
00:22:36,020 --> 00:22:39,020
the library is like an agora

405
00:22:39,020 --> 00:22:42,020
which becomes a space between two, i.e.

406
00:22:42,020 --> 00:22:44,020
we don't go down all the way down.

407
00:22:44,020 --> 00:22:47,020
You can only see it in one of the cups, it's
like

408
00:22:48,020 --> 00:22:52,020
and I'd say three or four steps,

409
00:22:53,020 --> 00:22:56,020
but which allows you to sit and the view between
them.

410
00:22:56,020 --> 00:22:59,020
So through the canopy and the trunks.

411
00:22:59,020 --> 00:22:59,020
So it's a view

412
00:22:59,020 --> 00:23:03,080
that we don't necessarily have access to whether
you're upstairs or downstairs.

413
00:23:03,080 --> 00:23:06,080
So we wanted to create this this little cocoon
zone here

414
00:23:07,080 --> 00:23:10,080
which was which is also different other reading
areas

415
00:23:10,080 --> 00:23:13,080
which are distributed all over the adults'
wing.

416
00:23:14,080 --> 00:23:16,080
Is it glazed? Well, it's glazed

417
00:23:17,080 --> 00:23:20,080
outwards, there, But,

418
00:23:20,080 --> 00:23:22,080
on the mezzanine floor.

419
00:23:22,080 --> 00:23:26,080
We thought that, given you as if you're down
below, the acoustics

420
00:23:26,080 --> 00:23:30,080
and everything, it's going to be be fairly
controlled, fairly calm.

421
00:23:30,080 --> 00:23:33,080
But it's a space that's like also set back
from the rest.

422
00:23:33,080 --> 00:23:36,080
the library. Then is it accessible?

423
00:23:36,080 --> 00:23:40,080
Well actually, given that we've divided up
this space,

424
00:23:40,080 --> 00:23:43,080
the reading area into two sections, i.e. there's
this section here,

425
00:23:43,080 --> 00:23:46,080
then there are other sections as accessible

426
00:23:46,080 --> 00:23:49,080
there, being the year that was in agora, it
was not accessible.

427
00:23:58,080 --> 00:24:01,040
Hello, thank you for the beautiful presentation.

428
00:24:03,040 --> 00:24:06,040
I appreciate the maritime aspect of the project.

429
00:24:07,040 --> 00:24:11,040
I wonder in relation to the porosity of the
building,

430
00:24:11,040 --> 00:24:15,040
as it's on two floors, beautiful windows

431
00:24:15,040 --> 00:24:18,040
with a view from every angle possible.

432
00:24:18,040 --> 00:24:22,040
On the other hand, the view we recommend, as
you said at the beginning

433
00:24:22,040 --> 00:24:27,040
your presentation of the boulevard, through
the trees, you can see the lake,

434
00:24:28,040 --> 00:24:32,040
but we'd end up with a two-storey building
that hides

435
00:24:33,040 --> 00:24:34,040
not bad in width

436
00:24:34,040 --> 00:24:37,040
a large part of this view.

437
00:24:38,040 --> 00:24:41,040
In the ...(inaudible)... especially at the
beginning of the presentation,

438
00:24:41,040 --> 00:24:44,040
you mentioned this very view of the boulevard.

439
00:24:46,040 --> 00:24:47,040
Yes, absolutely.

440
00:24:47,040 --> 00:24:50,040
The view that struck us on arrival

441
00:24:50,040 --> 00:24:51,040
it's definitely the view from the side

442
00:24:51,040 --> 00:24:54,040
park on the west side of the fence

443
00:24:54,040 --> 00:24:58,040
if you like. Of course, the marina side is
currently not visible.

444
00:25:00,000 --> 00:25:01,000
It's an agonizing choice.

445
00:25:01,000 --> 00:25:03,000
It is

446
00:25:03,000 --> 00:25:06,000
we wanted to leave the ground as clear as possible.

447
00:25:06,000 --> 00:25:09,000
That's why we decided, basically,

448
00:25:09,000 --> 00:25:12,000
hang a complete wing to the west,

449
00:25:12,000 --> 00:25:15,000
on the park side, to try to preserve this view
as much as possible.

450
00:25:15,000 --> 00:25:19,000
Then, as Todd mentioned earlier,

451
00:25:21,000 --> 00:25:24,000
It could be interesting and relevant in a project
I think

452
00:25:24,000 --> 00:25:28,000
to put the building in a corner that touches
as little as possible

453
00:25:28,000 --> 00:25:32,000
to the highlights of the site.

454
00:25:32,000 --> 00:25:36,000
In this case, it's certain that the park is
a place where we wanted

455
00:25:37,000 --> 00:25:38,000
to intervene as little as possible.

456
00:25:38,000 --> 00:25:40,000
So to have the minimum impact.

457
00:25:40,000 --> 00:25:43,000
So it certainly limits a little bit possible
locations.

458
00:25:43,000 --> 00:25:45,000
That's right, it's installed there, it's sure
to cut

459
00:25:45,000 --> 00:25:48,000
part of the view on the boats, in the marina,

460
00:25:48,000 --> 00:25:53,000
but we tell ourselves that this is a way to
discover this view

461
00:25:53,000 --> 00:25:54,000
in a second

462
00:25:54,000 --> 00:25:57,000
degree, in a second phase, in the background,
to leave a little

463
00:25:58,000 --> 00:26:01,060
a glimpse of something, but to find out afterwards,

464
00:26:01,060 --> 00:26:03,060
there, in the background, is to make the pleasure
last a little longer.

465
00:26:05,060 --> 00:26:08,060
So you're really inviting people to enter the
building

466
00:26:08,060 --> 00:26:11,060
to be able to take -Yes, go through it, go
under it

467
00:26:11,060 --> 00:26:13,060
and then discover it

468
00:26:13,060 --> 00:26:16,060
from a different angle that is not necessarily
still there.

469
00:26:17,060 --> 00:26:20,060
Then the other aspect is around the perimeter
of the building,

470
00:26:21,060 --> 00:26:24,060
in the 3D images we see

471
00:26:24,060 --> 00:26:26,060
the car park to the east,

472
00:26:26,060 --> 00:26:30,060
which is a good location for an area that is
already mineralized.

473
00:26:30,060 --> 00:26:35,060
On the other hand, we have a building perimeter
which is highly mineralized.

474
00:26:35,060 --> 00:26:38,060
You can see it in the second panel, so there's
no,

475
00:26:38,060 --> 00:26:41,060
There's no green buffer zone there

476
00:26:42,060 --> 00:26:45,060
you know, with the same thing, -I would say

477
00:26:45,060 --> 00:26:47,060
that it's perhaps a question of perception.

478
00:26:47,060 --> 00:26:49,060
on image

479
00:26:49,060 --> 00:26:51,060
or uh.

480
00:26:51,060 --> 00:26:54,060
But in fact, what this large forecourt called
the hold

481
00:26:54,060 --> 00:26:58,060
as I mentioned, which does when even a good
width, which really

482
00:26:58,060 --> 00:27:03,020
aligned a little with the quays. You can feel
it on the initial image, which is the aerial
view.

483
00:27:04,020 --> 00:27:07,020
If I go back a little to that view, it sure
keeps you busy

484
00:27:07,020 --> 00:27:08,020
a large part of the site,

485
00:27:08,020 --> 00:27:11,020
but the idea was to have islands vegetation.

486
00:27:11,020 --> 00:27:12,020
So we feel

487
00:27:12,020 --> 00:27:17,020
a kind of interweaving of the mineral and plant
life through these areas.

488
00:27:17,020 --> 00:27:21,020
If it's in the background, you can see a little

489
00:27:22,020 --> 00:27:25,020
areas of vegetation

490
00:27:26,020 --> 00:27:30,020
which are gradually coming on board on that
big square there.

491
00:27:30,020 --> 00:27:36,020
You can smell a bit of the boulevard, but we
can also see

492
00:27:36,020 --> 00:27:41,020
a little on the south side finally, in connection
with the marina.

493
00:27:41,020 --> 00:27:43,020
And then I'll give

494
00:27:43,020 --> 00:27:46,020
our landscape architect has his say who is
with us.

495
00:27:46,020 --> 00:27:50,020
Since we've got him with us, Étienne maybe
you could mention a few words

496
00:27:50,020 --> 00:27:53,020
in relation to this, on our intentions to clarify

497
00:27:53,020 --> 00:27:57,020
a little bit. Yes, in relation to landscaping

498
00:27:57,020 --> 00:28:00,080
in fact, what was desired is to have different
calibres.

499
00:28:00,080 --> 00:28:04,080
We wanted to make you feel the building has
been demolished

500
00:28:04,080 --> 00:28:07,080
in a green space, so we wanted to have seed,

501
00:28:07,080 --> 00:28:09,080
we wanted to have plants of greater calibre.

502
00:28:09,080 --> 00:28:11,080
So that's what's illustrated here. also on
plants,

503
00:28:11,080 --> 00:28:15,080
then the wooded fringe along the parking.

504
00:28:15,080 --> 00:28:16,080
Basically, we're preserving

505
00:28:16,080 --> 00:28:21,080
This is clearly illustrated in the front section,
there are mature trees that we are keen to

506
00:28:21,080 --> 00:28:25,080
and replant them mature trees.

507
00:28:25,080 --> 00:28:28,080
So there's something there we want to maintain.

508
00:28:28,080 --> 00:28:30,080
And between parking and

509
00:28:31,080 --> 00:28:34,080
the rug, the carpet that

510
00:28:34,080 --> 00:28:37,080
runs to the marina in the background, We also
have drainage ditches.

511
00:28:37,080 --> 00:28:40,080
So there's vegetation that makes an interface
between parking

512
00:28:41,080 --> 00:28:44,080
and the public square.

513
00:28:45,080 --> 00:28:48,080
Then if I can complete it too,

514
00:28:48,080 --> 00:28:51,080
why we wanted to offer a large place like this
which is the hold?

515
00:28:52,080 --> 00:28:56,080
It's because you have in project planning,

516
00:28:56,080 --> 00:28:59,080
yes, the cultural centre, there's the library,

517
00:28:59,080 --> 00:29:02,040
but there is also all outdoor activities that

518
00:29:02,040 --> 00:29:06,040
we wanted to offer a space which made it possible
to organise all kinds

519
00:29:06,040 --> 00:29:11,040
small-scale events, large-scale, and therefore
to combine

520
00:29:11,040 --> 00:29:16,040
external events too around this library

521
00:29:16,040 --> 00:29:20,040
and the cultural centre to come concentrate
activities a little more

522
00:29:20,040 --> 00:29:26,040
and perhaps keep the portion a more natural,
greener park.

523
00:29:27,040 --> 00:29:30,040
So you might think that the great a square
that juts out towards the marina

524
00:29:30,040 --> 00:29:34,040
can become the stage for events close to all
amenities.

525
00:29:34,040 --> 00:29:37,040
We don't need come, encroach, break up the
park.

526
00:29:37,040 --> 00:29:39,040
We don't have all the services nearby.

527
00:29:39,040 --> 00:29:43,040
So this big square here becomes highly flexible,
versatile

528
00:29:43,040 --> 00:29:48,040
for markets public, the

529
00:29:50,040 --> 00:29:53,040
botany, etc.

530
00:29:58,040 --> 00:30:01,000
Thank you always on this ...(inaudible)...

531
00:30:01,000 --> 00:30:04,000
What is the coating material on the ground?

532
00:30:04,000 --> 00:30:07,000
On the front, What you see is a slightly darker
grey

533
00:30:07,000 --> 00:30:10,000
and who ends up in the street?

534
00:30:12,000 --> 00:30:15,000
Yes, in fact we have, that's basically it

535
00:30:15,000 --> 00:30:17,000
there were screening surfaces

536
00:30:17,000 --> 00:30:20,000
in the background, gradually melting away with
concrete surfaces.

537
00:30:20,000 --> 00:30:22,000
So we wanted to focus on accessibility

538
00:30:22,000 --> 00:30:25,000
universal on concrete surfaces, and then that,
quietly,

539
00:30:25,000 --> 00:30:30,000
We had screenings and vegetation who came into
the spaces.

540
00:30:31,000 --> 00:30:31,000
I'm in.

541
00:30:31,000 --> 00:30:36,000
So in this whole area, between the parking
area and the pavement

542
00:30:36,000 --> 00:30:39,000
concrete, it's a screen, with

543
00:30:39,000 --> 00:30:43,000
with a mix of concrete paving stones and poured
concrete.

544
00:30:44,000 --> 00:30:45,000
So it's all one.

545
00:30:45,000 --> 00:30:46,000
We wanted to feel like it was

546
00:30:46,000 --> 00:30:50,000
fingers, in fact, that were closing in on the
square.

547
00:30:50,000 --> 00:30:54,000
So we really wanted to feel something something
quite different.

548
00:30:57,000 --> 00:30:59,000
To return to

549
00:30:59,000 --> 00:31:02,060
Anna's question, relatively two-storey buildings.

550
00:31:02,060 --> 00:31:08,060
Well, I appreciated your comment on sloping
roofs

551
00:31:08,060 --> 00:31:14,060
getting married or integrating with the residences
on Ashton Street next door.

552
00:31:14,060 --> 00:31:18,060
But is the building here is going to be much
higher

553
00:31:18,060 --> 00:31:20,060
than the residences on Ashton Street?

554
00:31:20,060 --> 00:31:23,060
Because I imagine that your ceilings.., do
not have eight feet

555
00:31:23,060 --> 00:31:26,060
or nine feet high there, It seems to be quite
high.

556
00:31:27,060 --> 00:31:30,060
Could you give me an idea of the height of
the building

557
00:31:30,060 --> 00:31:34,060
in proportion proportionally with the buildings

558
00:31:34,060 --> 00:31:37,060
surrounding areas?

559
00:31:41,060 --> 00:31:44,060
Yes, that's for sure, that's for sure

560
00:31:44,060 --> 00:31:47,060
which, given the function

561
00:31:47,060 --> 00:31:51,060
which is institutional, the project is much
more,

562
00:31:51,060 --> 00:31:53,060
even much higher and higher than the residences.

563
00:31:53,060 --> 00:31:58,060
So between the floors, we have three metres
or 3.6 metres

564
00:31:58,060 --> 00:32:01,020
on the ground floor, then twelve feet,

565
00:32:02,020 --> 00:32:06,020
then about the same height at the bottom of
the gables,

566
00:32:07,020 --> 00:32:12,020
then after that, we have the gables which are
relatively crushed, if I may say so.

567
00:32:12,020 --> 00:32:17,020
So the total height would be in the region
of I think...

568
00:32:17,020 --> 00:32:17,020
is

569
00:32:18,020 --> 00:32:21,020
eight metres, eight nine metres.

570
00:32:23,020 --> 00:32:25,020
Thank you for your time.

571
00:32:25,020 --> 00:32:28,020
Denis.

572
00:32:29,020 --> 00:32:32,020
Thank you very much for your presentation.

573
00:32:34,020 --> 00:32:37,020
My first question was with Melanie earlier.

574
00:32:37,020 --> 00:32:41,020
But I'd like you to tell us more generally

575
00:32:41,020 --> 00:32:43,020
universal accessibility.

576
00:32:43,020 --> 00:32:45,020
A two-storey building,

577
00:32:45,020 --> 00:32:47,020
says the staircase possibilities, things like
that.

578
00:32:47,020 --> 00:32:52,020
But let's talk about the bigger picture, the
building's accessibility.

579
00:32:54,020 --> 00:32:58,020
Well, I can start, so colleagues can support
me afterwards. That's for sure,

580
00:32:58,020 --> 00:33:01,080
as I said earlier, to the In terms of location,
it's a bit of an agonizing choice.

581
00:33:02,080 --> 00:33:04,080
Bringing back several functions

582
00:33:04,080 --> 00:33:07,080
upstairs, it's much the same, the same thing.

583
00:33:08,080 --> 00:33:12,080
For us, we definitely want to so that people
can get upstairs.

584
00:33:12,080 --> 00:33:16,080
There is also a lift generous enough to climb
it.

585
00:33:17,080 --> 00:33:20,080
Maybe even before that, from the car park

586
00:33:20,080 --> 00:33:24,080
from the street, there are still roads that
are passable

587
00:33:24,080 --> 00:33:28,080
with solid coatings to be able to get to the
building properly.

588
00:33:30,080 --> 00:33:33,080
The lift is located in an area

589
00:33:33,080 --> 00:33:36,080
quite visible despite its location.

590
00:33:36,080 --> 00:33:38,080
We have certain curves in the project too

591
00:33:38,080 --> 00:33:42,080
Both inside and out, to help people find their
way

592
00:33:42,080 --> 00:33:45,080
and perhaps expand these spaces a little to
make sure you have

593
00:33:45,080 --> 00:33:48,080
a beautiful, beautiful fluidity around the
lift.

594
00:33:48,080 --> 00:33:52,080
Of course, you have to bring people together
with reduced mobility upwards.

595
00:33:52,080 --> 00:33:54,080
Once it's done.

596
00:33:54,080 --> 00:33:57,080
Just now, I mentioned very briefly

597
00:33:57,080 --> 00:34:00,040
when I was talking about space for the children
I have,

598
00:34:00,040 --> 00:34:04,040
that I named, although we've named the boat
here,

599
00:34:04,040 --> 00:34:08,040
in the background, which is a little lower
than the floor.

600
00:34:09,040 --> 00:34:12,040
This space was planned a ramp for access,

601
00:34:14,040 --> 00:34:17,040
So, in several places in the project, we have
the ramps that are planned.

602
00:34:17,040 --> 00:34:19,040
We're still a long way off,

603
00:34:19,040 --> 00:34:23,040
comfortable widths too to be able to move around,

604
00:34:24,040 --> 00:34:26,040
er, rows of books and stuff.

605
00:34:26,040 --> 00:34:29,040
So it's a bit like this that we approached
it from the outset,

606
00:34:29,040 --> 00:34:32,040
but maybe the, Emmanuelle, would you have anything
else to say?

607
00:34:33,040 --> 00:34:35,040
to add to that. Yes, good,

608
00:34:35,040 --> 00:34:39,040
from the outset of the project, the idea of
having the main axis that runs completely through

609
00:34:40,040 --> 00:34:43,040
the site from the street to the marina.

610
00:34:43,040 --> 00:34:47,040
The idea was to really create access for people
with reduced mobility

611
00:34:47,040 --> 00:34:50,040
that they too can cross

612
00:34:50,040 --> 00:34:53,040
the whole park, the entire site,

613
00:34:53,040 --> 00:34:57,040
with easy access.

614
00:34:57,040 --> 00:35:00,000
So the slope is working very slowly to get
to

615
00:35:00,000 --> 00:35:01,000
the marina.

616
00:35:01,000 --> 00:35:05,000
Then, as Olivier said inside,

617
00:35:06,000 --> 00:35:09,000
the idea of bringing the library completely
on one level.

618
00:35:10,000 --> 00:35:11,000
Usually, we could have put it on a single level

619
00:35:11,000 --> 00:35:14,000
on the ground floor, but there, we decided
to put it on a single level

620
00:35:15,000 --> 00:35:18,000
to be truly in the tree canopy.

621
00:35:18,000 --> 00:35:20,000
But it also makes it possible to have all sections,

622
00:35:20,000 --> 00:35:23,000
all areas of the library on the same floor.

623
00:35:24,000 --> 00:35:29,000
So it was also to ensure a relative with reduced
mobility,

624
00:35:29,000 --> 00:35:33,000
can be in the same section than her child,
then wander

625
00:35:33,000 --> 00:35:37,000
to the adult section, but in the same

626
00:35:38,000 --> 00:35:39,000
the same visit

627
00:35:39,000 --> 00:35:42,000
so to speak. Thank you for your reply!

628
00:35:42,000 --> 00:35:45,000
Second question.

629
00:35:45,000 --> 00:35:46,000
I may have a blank,

630
00:35:46,000 --> 00:35:49,000
but I don't remember seeing a harbour master's
office to welcome

631
00:35:49,000 --> 00:35:52,000
boaters.

632
00:35:52,000 --> 00:35:55,000
Were any planned?

633
00:35:57,000 --> 00:36:00,060
In fact, you need to refer to the

634
00:36:00,060 --> 00:36:02,060
main location

635
00:36:02,060 --> 00:36:05,060
which can be seen here. So the harbour master's
office is

636
00:36:05,060 --> 00:36:08,060
located in the lower part of the site.

637
00:36:08,060 --> 00:36:12,060
So it's certain it's not something we've developed

638
00:36:13,060 --> 00:36:16,060
as part of the project. We wondered about this
at the outset

639
00:36:17,060 --> 00:36:20,060
on the importance that would be given in the
front line just like that.

640
00:36:20,060 --> 00:36:24,060
So we located it in ...(inaudible)... we found
that it could be an interesting place precisely

641
00:36:25,060 --> 00:36:28,060
to close up a little that big square by the
marina.

642
00:36:29,060 --> 00:36:32,060
When you think of the events that could be
held in this space

643
00:36:32,060 --> 00:36:37,060
there. So to come a little partitioned one
side to have a little technical access on this
side.

644
00:36:38,060 --> 00:36:40,060
But that's it, you don't have

645
00:36:40,060 --> 00:36:43,060
I've missed out on a lot of content in relation
to this.

646
00:36:44,060 --> 00:36:45,060
We've put it on standby for the time being,

647
00:36:45,060 --> 00:36:47,060
but we'd love to to develop further.

648
00:36:47,060 --> 00:36:51,060
So, I think it's a project in itself that deserves
to be observed

649
00:36:51,060 --> 00:36:54,060
We just didn't want to provide too quickly,

650
00:36:54,060 --> 00:36:57,060
without having really studied it.

651
00:36:57,060 --> 00:36:59,060
Because harbourmasters' offices in other countries

652
00:36:59,060 --> 00:37:02,020
projects for us means As I say, it's a project
in itself.

653
00:37:02,020 --> 00:37:05,020
He was still in the foreground

654
00:37:05,020 --> 00:37:07,020
including the image of the lake,

655
00:37:07,020 --> 00:37:11,020
we thought we'd put it here, but that's not
the case. could also be modulated differently.

656
00:37:11,020 --> 00:37:12,020
Maybe.

657
00:37:12,020 --> 00:37:16,020
It is an integral part of the project. But
the idea is worth bearing in mind,

658
00:37:16,020 --> 00:37:20,020
is that this harbour master's office would
be connected to the Grande Cale,

659
00:37:20,020 --> 00:37:25,020
so she too could be part of the liveliness
of the square.

660
00:37:25,020 --> 00:37:29,020
You might think of large doors which open onto
the square, then

661
00:37:31,020 --> 00:37:32,020
for kayak hire or

662
00:37:32,020 --> 00:37:36,020
outdoor mechanical workshops or repair.

663
00:37:36,020 --> 00:37:40,020
So really, the idea is to create a kind of
pole

664
00:37:40,020 --> 00:37:44,020
core business outside in connection with the
café too,

665
00:37:44,020 --> 00:37:48,020
the bistro, the restaurant, perhaps, future
restaurant.

666
00:37:48,020 --> 00:37:50,020
So there's the terrace on this.

667
00:37:50,020 --> 00:37:54,020
So really create an animation, a hub of activity
in this sector.

668
00:37:55,020 --> 00:37:58,020
Thank you very much for your time.

669
00:37:59,020 --> 00:38:02,080
Yes. In fact, I want to,

670
00:38:04,080 --> 00:38:08,080
I love, love that you have a flagship axis
in the centre

671
00:38:08,080 --> 00:38:13,080
which basically indicates that the link

672
00:38:14,080 --> 00:38:18,080
the most present access to the site is on Beaconsfield
Boulevard,

673
00:38:19,080 --> 00:38:23,080
there are a lot of people who are going to
be by car and then by bike.

674
00:38:23,080 --> 00:38:26,080
Can you.

675
00:38:27,080 --> 00:38:30,080
Maybe talk about the entrance, the choice to
have

676
00:38:30,080 --> 00:38:33,080
the covered side entrance.

677
00:38:34,080 --> 00:38:37,080
I'd just like you to expand on that.

678
00:38:42,080 --> 00:38:42,080
Well, for us, the entrance

679
00:38:42,080 --> 00:38:46,080
should be at the heart of the project. That's
the first intention, really.

680
00:38:46,080 --> 00:38:50,080
at the level of the patella, at the junction
of these

681
00:38:50,080 --> 00:38:53,080
some very interesting ideas.

682
00:38:53,080 --> 00:38:56,080
We then know that according to the design,
when we have,

683
00:38:56,080 --> 00:38:59,080
we developed the shape in depth, whether we

684
00:38:59,080 --> 00:39:03,040
we were moving it forward, if we, for example,
thought

685
00:39:03,040 --> 00:39:07,040
perhaps place it covered under the north wing.

686
00:39:07,040 --> 00:39:08,040
In the background, we have a strong appeal

687
00:39:08,040 --> 00:39:11,040
on the north wing moving towards the boulevard.

688
00:39:11,040 --> 00:39:15,040
We thought maybe we'd put it here, but it really
was a team choice.

689
00:39:16,040 --> 00:39:18,040
We're going to keep it right at the heart of
the project.

690
00:39:18,040 --> 00:39:21,040
And we didn't necessarily want bring fireworks
or

691
00:39:21,040 --> 00:39:24,040
additional canopies or elements that could
slightly distort

692
00:39:24,040 --> 00:39:27,040
a very simple form.

693
00:39:28,040 --> 00:39:31,040
So the choice became natural for us to place
it below.

694
00:39:32,040 --> 00:39:35,040
But at the same time, you said

695
00:39:35,040 --> 00:39:37,040
that the North-South axis was clearly defined
in our project.

696
00:39:37,040 --> 00:39:40,040
I think that the fact of wanting to move people
around

697
00:39:41,040 --> 00:39:42,040
a good one can come from just about anywhere.

698
00:39:42,040 --> 00:39:43,040
We understand that it will arrive

699
00:39:43,040 --> 00:39:46,040
the park that's about to arrive, the bus and
even the car park,

700
00:39:47,040 --> 00:39:50,040
but eventually it's to get them into this space

701
00:39:50,040 --> 00:39:54,040
which is extremely important to us, the one
under the overhang.

702
00:39:54,040 --> 00:39:56,040
Well, I missed a bit of time earlier on

703
00:39:56,040 --> 00:39:58,040
to talk about it in the cup.

704
00:39:58,040 --> 00:40:01,000
I said it quickly that the space was still
comfortable

705
00:40:01,000 --> 00:40:04,000
underneath, we imagined hammocks and all that.

706
00:40:04,000 --> 00:40:09,000
It's a space we'd love to show you in images,
but we were still limited

707
00:40:09,000 --> 00:40:10,000
in the number of images.

708
00:40:10,000 --> 00:40:12,000
There are several spaces

709
00:40:12,000 --> 00:40:15,000
that we explored internally, we'd like to introduce
to you.

710
00:40:15,000 --> 00:40:18,000
But a choice had to be made still there, heartbreaking
to say where we put

711
00:40:19,000 --> 00:40:20,000
energy.

712
00:40:20,000 --> 00:40:23,000
But that's it, we think that arriving this
way, then enter

713
00:40:23,000 --> 00:40:26,000
under the covered part which, we think is interesting.

714
00:40:26,000 --> 00:40:29,000
Perhaps I'll just quickly add

715
00:40:30,000 --> 00:40:31,000
several years ago, when we saw

716
00:40:31,000 --> 00:40:34,000
spaces also under

717
00:40:34,000 --> 00:40:39,000
floors like that, it could make a bit scary.
But with the width of the wings,

718
00:40:39,000 --> 00:40:42,000
we're talking about fourteen-metre wings which,
when all is said and done, aren't very large,

719
00:40:43,000 --> 00:40:46,000
we think it's an interesting space to have

720
00:40:46,000 --> 00:40:48,000
natural light coming in, a little draught.

721
00:40:48,000 --> 00:40:51,000
Then there are spaces that we think are very
relevant

722
00:40:51,000 --> 00:40:54,000
today with the heatwaves that we experience
from time to time,

723
00:40:54,000 --> 00:40:58,000
we're certainly living hot days on a regular
basis,

724
00:40:58,000 --> 00:41:02,060
and just about everywhere. I think it's a space
that could be of interest,

725
00:41:02,060 --> 00:41:03,060
and then get people to go back that way,

726
00:41:03,060 --> 00:41:07,060
I think this could make sense, but it's a conceptual
choice.

727
00:41:07,060 --> 00:41:07,060
It is.

728
00:41:09,060 --> 00:41:10,060
There were

729
00:41:10,060 --> 00:41:15,060
the idea of connecting this entrance with the
park, so

730
00:41:15,060 --> 00:41:18,060
not just have a street entrance, but a park
entrance.

731
00:41:18,060 --> 00:41:21,060
So people like Olivier said, coming from everywhere.

732
00:41:21,060 --> 00:41:25,060
It could be a walker out for a stroll along
the water, bringing the project upstream,

733
00:41:26,060 --> 00:41:30,060
who also sees the entrance, when people, teenagers
are on their way

734
00:41:30,060 --> 00:41:33,060
secondary school, they'll catch a glimpse of
him across the park,

735
00:41:33,060 --> 00:41:37,060
then the curve which is located on the, more
towards

736
00:41:37,060 --> 00:41:41,060
the north wing will also bring people on the
move

737
00:41:41,060 --> 00:41:44,060
along the project to enter

738
00:41:44,060 --> 00:41:48,060
to the under the overhang towards the entrance.

739
00:41:54,060 --> 00:41:59,060
Thank you Olivier, thank you Todd for your
presentation.

740
00:41:59,060 --> 00:42:00,020
I think Olivier

741
00:42:00,020 --> 00:42:03,020
I'm going to talk about choices, wishes and
so on.

742
00:42:03,020 --> 00:42:07,020
Because it's something that happens You can't
show everything in every competition.

743
00:42:08,020 --> 00:42:10,020
I am, I am.

744
00:42:10,020 --> 00:42:13,020
So it's choices, but choices say something
because it allows

745
00:42:15,020 --> 00:42:15,020
when

746
00:42:15,020 --> 00:42:19,020
look at the signs, the thing that you can't
see.

747
00:42:19,020 --> 00:42:22,020
Almost all your spaces and libraries

748
00:42:22,020 --> 00:42:25,020
in narrow wings with a gable.

749
00:42:26,020 --> 00:42:28,020
It's all in there,

750
00:42:28,020 --> 00:42:31,020
but you can't see them.

751
00:42:31,020 --> 00:42:34,020
You can see that the ball joint is full of
times, can't you?

752
00:42:35,020 --> 00:42:37,020
And I

753
00:42:37,020 --> 00:42:41,020
one thing I appreciated A lot of your project
is here,

754
00:42:41,020 --> 00:42:45,020
that's the point of taking an architectural
approach vernacular and make it contemporary

755
00:42:45,020 --> 00:42:48,020
And no, you're not the first to try to do this,
but it's commendable

756
00:42:49,020 --> 00:42:52,020
and very appropriate for this competition.

757
00:42:52,020 --> 00:42:55,020
That said, I'm asking the question, perhaps
you can,

758
00:42:55,020 --> 00:42:58,020
you've made choices, we didn't show this, but
you see

759
00:42:58,020 --> 00:43:03,080
how these spaces, is Are we looking at cathedral
ceilings?

760
00:43:03,080 --> 00:43:08,080
Are we showing the shell below the bow of the
boat?

761
00:43:08,080 --> 00:43:13,080
Because I think everything is going to happen
there, in the end, apart from the entrance,
the kneecap,

762
00:43:13,080 --> 00:43:14,080
any

763
00:43:14,080 --> 00:43:17,080
life in the library will take place in these
wings,

764
00:43:17,080 --> 00:43:19,080
in these gables.

765
00:43:20,080 --> 00:43:23,080
I would say to you that there are prospects

766
00:43:23,080 --> 00:43:24,080
who were

767
00:43:24,080 --> 00:43:27,080
one of which was compulsory, the hall.

768
00:43:27,080 --> 00:43:30,080
So I would say

769
00:43:31,080 --> 00:43:35,080
the one in the hall, we tried out several versions.
it was really important to feel that the hall
was

770
00:43:35,080 --> 00:43:41,080
not just on the ground floor. It was really
on two levels. The staircase, the agora

771
00:43:43,080 --> 00:43:45,080
even though we see them in several projects,

772
00:43:45,080 --> 00:43:46,080
in ours,

773
00:43:46,080 --> 00:43:50,080
it still felt interesting, its location and
shape.

774
00:43:50,080 --> 00:43:52,080
We really wanted to give the impression

775
00:43:52,080 --> 00:43:54,080
airspace.

776
00:43:54,080 --> 00:43:56,080
Good,

777
00:43:56,080 --> 00:43:59,080
I mentioned verticality a little while ago

778
00:43:59,080 --> 00:44:02,040
For us, this was an important image to show.

779
00:44:02,040 --> 00:44:05,040
In the sense that from the outside, I think
everyone feels

780
00:44:05,040 --> 00:44:07,040
that the project is very, very horizontal.

781
00:44:07,040 --> 00:44:10,040
We deliberately stretched the wings in the
landscape and everything,

782
00:44:10,040 --> 00:44:14,040
but I think that having an interior open like
that

783
00:44:14,040 --> 00:44:16,040
a surprise effect that we wanted to create.

784
00:44:16,040 --> 00:44:19,040
So for the choice of that was an interesting
perspective

785
00:44:20,040 --> 00:44:22,040
I also said in my presentation that the

786
00:44:22,040 --> 00:44:25,040
the boat with the children's area was a space
that,

787
00:44:26,040 --> 00:44:29,040
I think we were keen to develop. Which for
us is

788
00:44:29,040 --> 00:44:33,040
very interesting. To bring young people, parents
and their children together in the same way.

789
00:44:33,040 --> 00:44:38,040
in the library. Then the way we presented it,

790
00:44:39,040 --> 00:44:41,040
it was one side to show that experience.

791
00:44:41,040 --> 00:44:44,040
I think it's inviting all the same.

792
00:44:45,040 --> 00:44:48,040
It really is, to use your words

793
00:44:48,040 --> 00:44:52,040
where we really wanted one more perspective
or two,

794
00:44:52,040 --> 00:44:56,040
was in the stretched wings, including the adult
sector, the

795
00:44:56,040 --> 00:45:00,000
teenager. The first question is who talked
about the reading zone

796
00:45:00,000 --> 00:45:03,000
the adult/teen corner

797
00:45:03,000 --> 00:45:06,000
that happens in the big pillar. It's a space
we've been exploring.

798
00:45:08,000 --> 00:45:11,000
We've decided to present it to you briefly
in a cup, so that we can say

799
00:45:11,000 --> 00:45:16,000
OK, we suggest it to people, but you have to
You have to work with us to see it.

800
00:45:18,000 --> 00:45:21,000
Then I'll tell you

801
00:45:21,000 --> 00:45:25,000
than the other image you would have liked see
into the wing to feel the cathedral ceiling,

802
00:45:26,000 --> 00:45:29,000
we decided as a team to present in the bioclimatic
section,

803
00:45:30,000 --> 00:45:33,000
so I didn't say much about it earlier, because
I felt that time was running out,

804
00:45:33,000 --> 00:45:38,000
but for us, this cup spoke volumes when we
...(inaudible)...

805
00:45:38,000 --> 00:45:41,000
because you can feel the calibre of the space,
you can feel the height of the ceilings.

806
00:45:42,000 --> 00:45:46,000
That's part of our intention. That these spaces

807
00:45:46,000 --> 00:45:47,000
there in the big wings,

808
00:45:47,000 --> 00:45:50,000
with the exception of more administrative,
but the

809
00:45:50,000 --> 00:45:54,000
library, if you like, would be treated as a
ceiling cathedral. So to get a feel for the
height,

810
00:45:54,000 --> 00:45:58,000
feel the shape of the roof and also to allow
you to feel the curves

811
00:45:58,000 --> 00:46:01,060
when you arrive at the level of the patella.

812
00:46:01,060 --> 00:46:03,060
Then little by little

813
00:46:04,060 --> 00:46:06,060
as indicated

814
00:46:06,060 --> 00:46:09,060
in the planks at ceiling level

815
00:46:09,060 --> 00:46:13,060
we can imagine ceilings with a treatment acoustics,
so flexible, acoustic ceilings,

816
00:46:13,060 --> 00:46:17,060
which could be used to round out the financial
picture surfaces to limit a little

817
00:46:18,060 --> 00:46:22,060
the acoustic discomfort that could perhaps
be imagine yourself in an open space like this

818
00:46:22,060 --> 00:46:26,060
in a cathedral, but... So, we would have liked
to show you all these images that are in our
heads

819
00:46:27,060 --> 00:46:30,060
and in our computers already, but...

820
00:46:30,060 --> 00:46:31,060
And that's it.

821
00:46:31,060 --> 00:46:34,060
Thank you very much for your time.

822
00:46:39,060 --> 00:46:45,060
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.

823
00:46:45,060 --> 00:46:49,060
Don't worry Philippe, I'll repeat it in French
later.

824
00:46:50,060 --> 00:46:51,060
So..,

825
00:46:51,060 --> 00:46:55,060
I think the maritime reference works well in
your project,

826
00:46:55,060 --> 00:46:59,060
in a subtle architectural language, not a memetic
or metaphorical one,

827
00:47:03,020 --> 00:47:06,020
as a metaphor, which I think is always an issue,

828
00:47:06,020 --> 00:47:10,020
because architecture is not a metaphor for
something else. Architecture is what it is.

829
00:47:11,020 --> 00:47:13,020
I particularly appreciate the

830
00:47:13,020 --> 00:47:14,020
entrance sequence.

831
00:47:14,020 --> 00:47:17,020
I think if you are going to float the building
above the landscape,

832
00:47:17,020 --> 00:47:20,020
you need to program the underside of the building.

833
00:47:20,020 --> 00:47:25,020
I don't share your love of being under a building
in a Nordic country. And I know

834
00:47:25,020 --> 00:47:28,020
that you've built successful experiments witht
that.

835
00:47:29,020 --> 00:47:30,020
But I think they need to be programmed

836
00:47:30,020 --> 00:47:34,020
So I think that the way it frames the entrance
works particularly well.

837
00:47:34,020 --> 00:47:40,020
So the question is a functional one, that was
really raised by the Technical Committee,

838
00:47:42,020 --> 00:47:46,020
which is: you have on the ground floor all
the animation and cultural functions,

839
00:47:46,020 --> 00:47:48,020
which are supposed to work autonomously.

840
00:47:48,020 --> 00:47:51,020
And you would think it's easy, you have the
library above,

841
00:47:51,020 --> 00:47:53,020
but how do you actually separate the two when
the library

842
00:47:53,020 --> 00:47:56,020
is closed? Where does the closure happens

843
00:47:56,020 --> 00:47:57,020
between the two functions?

844
00:47:57,020 --> 00:48:04,080
So that's one question. And what is this material
that we see in the part

845
00:48:04,080 --> 00:48:06,080
in the striated part of the white ceiling?

846
00:48:06,080 --> 00:48:07,080
So the question

847
00:48:07,080 --> 00:48:10,080
at functional level, is how you separate

848
00:48:10,080 --> 00:48:14,080
the cultural area on the ground floor when
the library is closed in the evening.

849
00:48:14,080 --> 00:48:17,080
And in terms of materiality

850
00:48:17,080 --> 00:48:19,080
what is the materiality of the striated part
and the curved part?

851
00:48:19,080 --> 00:48:22,080
we see...(inaudible)...

852
00:48:22,080 --> 00:48:27,080
Thank you, I'll answer the question. The material
on the ceiling? -Yes.

853
00:48:27,080 --> 00:48:31,080
We originally drew, like wooden slats

854
00:48:31,080 --> 00:48:34,080
but when we looked at it, it was put in

855
00:48:34,080 --> 00:48:37,080
a different material for the roof.

856
00:48:37,080 --> 00:48:40,080
All we want is for the materials to have the
same direction as the flow of the curves.

857
00:48:42,080 --> 00:48:44,080
In fact, that's what I was saying just now.

858
00:48:44,080 --> 00:48:46,080
It is

859
00:48:46,080 --> 00:48:47,080
in these spaces.

860
00:48:47,080 --> 00:48:49,080
We work with a ...(inaudible)...

861
00:48:49,080 --> 00:48:53,080
which is glued directly on gypsum, then it's
this point

862
00:48:53,080 --> 00:48:56,080
we're going to make the strap thinner, a little
to be able to.

863
00:48:58,080 --> 00:49:02,040
No, it's not an MDF, it's a bit like an acoustic
ceiling panel,

864
00:49:02,040 --> 00:49:05,040
but which is a little more flexible, that sticks.

865
00:49:06,040 --> 00:49:10,040
So this was included in the estimate and in
the drawings.

866
00:49:11,040 --> 00:49:14,040
Yes, I think what we've done is we've cut it
off

867
00:49:14,040 --> 00:49:17,040
Like the ceiling here at the moment, it's all
the same

868
00:49:17,040 --> 00:49:20,040
So you watch it once and that's it.

869
00:49:20,040 --> 00:49:23,040
But what we want to do is have three or four
widths

870
00:49:24,040 --> 00:49:30,040
And when you walk in, it's always different.
So our eyes are always looking at something
different.

871
00:49:30,040 --> 00:49:32,040
-And the curve is read from the outside in.

872
00:49:32,040 --> 00:49:36,040
Yes, If you look at my projects in Norway,

873
00:49:36,040 --> 00:49:39,040
you can see the wood on the roof going outwards

874
00:49:39,040 --> 00:49:44,040
and the building doesn't stop when the window
ends. It goes on.

875
00:49:44,040 --> 00:49:50,040
It's more of a visual effect. It's like the
Banshee effect.

876
00:49:50,040 --> 00:49:52,040
It's a very simple thing to do.

877
00:49:52,040 --> 00:49:57,040
Er, the other thing... -It's a good Rock n'
Roll reference...

878
00:49:58,040 --> 00:50:01,000
for anyone over 50 (laughs).

879
00:50:02,000 --> 00:50:09,000
Closing time is very interesting. It came at
the end when we realised we had to close in
the evening.

880
00:50:09,000 --> 00:50:11,000
And last week I was in Halifax and

881
00:50:11,000 --> 00:50:15,000
Schmidt Hammer Lassen of Copenhagen have made
the library

882
00:50:15,000 --> 00:50:17,000
and I went to see what they had done,

883
00:50:17,000 --> 00:50:24,000
and they have this folding door with rods

884
00:50:24,000 --> 00:50:28,000
They just pull it and it can take all sorts
of forms.

885
00:50:29,000 --> 00:50:33,000
Would it be installed below or above? - Upstairs
on the second floor.

886
00:50:33,000 --> 00:50:40,000
So the stairs remain partly... -The stairs
remain, I don't know if you have the perpesctives,

887
00:50:40,000 --> 00:50:43,000
The staircase is actually a room, not a staircase.

888
00:50:43,000 --> 00:50:46,000
That's another thing I'm trying to do, not
do

889
00:50:46,000 --> 00:50:49,000
and things like that. So, the staircase

890
00:50:49,000 --> 00:50:51,000
it's a meeting place

891
00:50:51,000 --> 00:50:55,000
We've also done this on the edges of windows,
for example.

892
00:50:55,000 --> 00:50:58,000
The windows are the same width as the shelves.

893
00:50:58,000 --> 00:51:01,060
Then you can sit on the windows. You don't
have to buy any furniture.

894
00:51:01,060 --> 00:51:05,060
So we try to combine two functions into one
all the time

895
00:51:05,060 --> 00:51:07,060
But to answer your question,

896
00:51:07,060 --> 00:51:08,060
it's a simple

897
00:51:08,060 --> 00:51:11,060
-It's like a commercial door

898
00:51:11,060 --> 00:51:15,060
-Yes, it's like being in a shopping centre
and sad to say, but

899
00:51:15,060 --> 00:51:17,060
If you have the project you can call me and
get a better...

900
00:51:17,060 --> 00:51:19,060
(laughs)

901
00:51:19,060 --> 00:51:23,060
If there are architects out there with better
ideas.

902
00:51:23,060 --> 00:51:28,060
These are things you notice after you've designed
the project.

903
00:51:28,060 --> 00:51:30,060
If we had held this competition in Scandinavia

904
00:51:30,060 --> 00:51:33,060
we would have taken six months,

905
00:51:33,060 --> 00:51:36,060
and it's incredible how much work we've done
in such a short space of time

906
00:51:36,060 --> 00:51:40,060
And all the other teams and the work you've
done, it's incredible!

907
00:51:42,060 --> 00:51:45,060
Hard at work (laughs)

908
00:51:46,060 --> 00:51:49,060
Do I need to translate where?

909
00:51:49,060 --> 00:51:54,060
...(inaudible)...

910
00:51:55,060 --> 00:51:58,060
Very, very briefly

911
00:51:58,060 --> 00:52:01,020
in fact, at the control level, The library
is really upstairs.

912
00:52:03,020 --> 00:52:06,020
So we want to keep the central staircase as
much as possible.

913
00:52:06,020 --> 00:52:07,020
So the kneecap.

914
00:52:07,020 --> 00:52:09,020
But control takes place at a higher level.

915
00:52:09,020 --> 00:52:12,020
Then there are different possible systems

916
00:52:12,020 --> 00:52:16,020
Todd explained that this would probably be
just rails closing off the space

917
00:52:17,020 --> 00:52:18,020
with a rather commercial curtain.

918
00:52:18,020 --> 00:52:20,020
This could be explored.

919
00:52:20,020 --> 00:52:23,020
Alternatively, you can also discuss of the
ceiling cladding,

920
00:52:24,020 --> 00:52:27,020
in strips, which allow them to fit perfectly

921
00:52:27,020 --> 00:52:31,020
curves and all. ...(inaudible)...