[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?
[21:22] Hello?
[21:28] Hello.
[21:37] 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)...