[0:16] So, a good evening to you all.

[0:19] We are delighted to present our design today

[0:23] for the cultural centre.

[0:24] So I'm going to introduce myself,

[0:25] Stéphane Chevalier, principal architect Chevalier Morales.

[0:29] I'm with my partner, a long-standing colleague,

[0:32] Sergio Morales. We'll both be presenting today.

[0:33] With us, we have Micheline from Vlan Paysage.

[0:38] We also have Anna de Latéral,

[0:41] structural engineer also the structural engineer,

[0:44] Alexandra.

[0:45] In electromechanics, we have Yann, Sébastien

[0:49] civil engineering and Mathieu also in electricity from Pageau Morel.

[0:54] So good presentation to you. So

[0:56] Sergio

[0:57] Yes, well thank you Stéphane, I don't know if it's high enough

[1:01] What dazzled us, what struck us when we arrived

[1:06] for the first time in Centennial Park when we saw the villa.

[1:09] Then I'll tell you even what marked us

[1:11] again today when we arrived

[1:13] here, it's the importance and the attachment to this Centennial Villa.

[1:18] So there was

[1:19] a lot of work we've done to develop ideas.

[1:22] And this project by delving in What is a villa?

[1:25] What does a villa represent? How

[1:27] How does it develop throughout history?

[1:31] So we've gone back,

[1:32] we've gone back quite a long way to Palladio, to the

[1:35] Modern villas, to the American villas,

[1:38] to finally understand that this typology

[1:41] crystallizes and embodies several ideas, several ideals, several ambitions

[1:46] the generations that have brought them to life, who invented them.

[1:50] So I think that one of the questions that we

[1:52] asked ourselves, how can we

[1:55] how can we reinterpret this Centennial villa

[1:57] and bring it back to life in a new version,

[2:00] in a new version, but this time embodying the ideals,

[2:03] ideas, ambitions, contemporary concerns

[2:07] such as democratisation, friendliness and accessibility,

[2:11] commitment can be a little more active towards nature.

[2:15] So we put a lot of work into that and this is really the basis of our

[2:19] of our project, so both memory and attachment.

[2:22] But what can be a contemporaray version of this villa?

[2:28] The image you see here, of course, there's a lot in it.

[2:31] First, there's the commitment that the building offers the landscape.

[2:35] It is, they say, radically one storey high.

[2:39] We wanted this for several reasons.

[2:42] There's also fairly easy access, fairly straightforward.

[2:45] You can see it.

[2:46] It's a project that is very transparent on all facades.

[2:52] We'll look at that a little later.

[2:53] But the idea is that the warmth, that the presence of wood inside

[2:57] really, emanates and creates a night-light atmosphere,

[3:01] that this contemporary villa or project watches over the whole park.

[3:05] So that's how we, that we started, that we developed

[3:09] and we refined the project.

[3:12] So I'm going to take a few minutes to talk to you

[3:13] a little about positioning of the project on the site

[3:16] and also see how we approached our version of the landscape.

[3:20] So first things first.

[3:26] So first things first,

[3:27] you can really see the layout of our building

[3:31] in the current location of the marina parking lot.

[3:36] We've really come to put this building with a direct link to Beaconsfield.

[3:40] We believe that contructing in Beaconsfield a civic building like this, it has an importance

[3:45] that is quite significant for development.

[3:47] We see clearly this distance where there is lanscape in front,

[3:51] of the education centre, about the same deployment for the cultural centre,

[3:56] the direct link with Heroes Park,

[3:59] but also civic buildings such as the building we are in.

[4:02] So a positioning which seemed quite sensible,

[4:04] which also leaves space in front, but which also liberates

[4:08] the space between the building and the lake.

[4:12] In terms of positioning.

[4:14] But we're going a little more into detail.

[4:16] The main entrance that Sergio was talking about where you can stroll, walk

[4:20] directly on a network of footpaths that exist already.

[4:26] We intend to review them, to modify them and adjust them if necessary.

[4:31] Using stone dust.

[4:33] This site also features of course, the existing platform.

[4:37] There is an existing parking area we'd like to reuse

[4:40] to hold events,

[4:42] install portable toilets, small stages.

[4:45] So it's a place that already exists where we're going to put

[4:48] stone dust on it.

[4:49] The amphitheatre, a privileged spot where the public

[4:53] will be able to watch, citizens you can see the shows

[4:57] at that place, at the amphitheatre, with a beautiful view of the lake,

[5:00] So a nerve centre to hold events.

[5:03] The parking lot, which also provides access

[5:07] direct access for the boat ramp.

[5:11] We're not really changing people's habits in this area.

[5:15] The parking lot will be fairly ecological, well organised.

[5:19] But we can also see

[5:20] obviously the green roof which is a way of raising

[5:26] grass, soil

[5:27] the landscape if you like, to the next level.

[5:32] So it's a bit like this in terms of the treatment

[5:36] water on the site.

[5:37] Our approach, it is very sensitive.

[5:40] We recover most of the water on the site.

[5:42] We have several strategies such as drainage ditches, a drainage

[5:46] strategy in the parking lot, catchment areas

[5:50] and obviously this kind of channel

[5:53] which is the dry ditch that we reuse.

[5:57] So all rainwater

[5:58] will be recovered from the site and managed on this very site.

[6:02] Some images which we worked on from the beginning

[6:06] so a few images very important for the process.

[6:09] Initially, the idea of immersing the building in nature, it's a park.

[6:13] How do we fit into this park? We want nature to be omnipresent.

[6:17] Enhancing the existing dry ditch, we see it very naturally.

[6:22] We will see how we will work it out in detail,

[6:25] but we really don't want over organise it.

[6:27] We want it to be truly natural on the site.

[6:30] So a fine example of accessible trails with organic forms,

[6:33] revised and revisited, sometimes even enhanced.

[6:36] A reminder of Centennial Hall.

[6:38] So we'd like to keep traces of the residence that is Centennial Hall

[6:42] which will be demolished eventually.

[6:44] So maybe traces on the ground.

[6:47] The idea of increasing the permeable surface area

[6:49] in the park to minimise the impact on services.

[6:53] One of the accessible passages crossing the ditch.

[6:56] So we will see what we can do

[6:58] small bridges, small crossings

[7:02] at this level, but also a responsible landscaping management, such as

[7:07] all grasses, all the species without the need for irrigation.

[7:12] We want to keep this as natural as possible

[7:14] for biodiversity and butterflies, bees, etc.

[7:17] And make sure we do as little mowing as possible

[7:20] and ensure to make paths where we need them.

[7:24] And of course, natural filtration for bioretention.

[7:27] Playground for children should perhaps be made of wood.

[7:30] Ok, maybe not plastic equipement etc.

[7:32] Something much more user-friendly.

[7:34] I see children smiling. Following this,

[7:37] of course, the view from the lake.

[7:39] Right, this building here, it opens onto the lake.

[7:41] It's a great permeability, a fine presence both in terms of

[7:46] the lake, on the cultural centre, for residents

[7:49] or users of the library

[7:50] who look out over the lake.

[7:56] Thanks Stéphane, I'll just..,

[8:04] I think in terms of planning, we have a lot to say.

[8:06] We'll try to keep this relatively brief.

[8:09] I think there are certain principles that helped us to plan.

[8:13] The first was that we really wanted to integrate nature

[8:17] in the planning process, therefore not necessarily always

[8:20] look at it contemplatively, but to activate it in various ways,

[8:25] in the various relationships that users have with buildings.

[8:29] So we see clearly for the entrance,

[8:31] we made a special effort to come and integrate, really incorporate

[8:34] within the geometry of the building, a complete fragment of landscape,

[8:38] but with the interface that looks on the park and on the river too,

[8:42] there are porches,

[8:43] we know the porches of villas,

[8:44] we also know the traditional porches of older houses.

[8:49] So we tried to keep this in the geometry of the building.

[8:53] Particularly, if you will, at the main entrance

[8:56] where we tried to create an outdoor space that is inside.

[9:00] The geometry that allows us to manage access to both the parking lot

[9:05] and to Beaconsfield Boulevard which also offers

[9:09] as an ideal venue for events, for example either for the bistro

[9:13] whose location we will see a little later,

[9:15] or for the multipurpose room.

[9:18] We had one.

[9:19] We received a comment from the Technical Committee asking whether or not

[9:21] this multipurpose room could open to the outside.

[9:24] The answer is yes, very easily,

[9:26] because it's right behind the glassed wall Stéphane is pointing out.

[9:30] So it'll be easy to use this room then open it to the outside

[9:35] for events. So in our opinion, it's a plus.

[9:38] And then all this glassed wall is also an opportunity,

[9:41] all the walls behind are made of wood.

[9:43] So to shine the light on this wood,

[9:46] this warmth will radiate outwards

[9:49] and therefore contribute to an inviting entrance.

[9:54] If we look back at the planning, the other important guiding principle

[9:59] that led to its creation, is this idea of freeing up the envelope

[10:03] at the perimeter, so to create what we call in Japanese architecture

[10:08] an "engawa" or a porch, therefore a distance between the envelope.

[10:12] This envelope here, it is for everyone,

[10:14] it is democratic, it is accessible.

[10:16] So that is why that all the planning

[10:18] makes a place and in not 100% of cases,

[10:22] but in a large percentage of cases, circulate, circulate around it.

[10:26] As for specific functions,

[10:29] here we see the heart, meaning the entrance,

[10:32] the window, the access to animation areas.

[10:36] It's directly connected on the courtyard that we saw earlier

[10:41] in this animation space here or the reception area, if you like,

[10:44] but it is a space

[10:45] that is generous, this is the main entrance

[10:48] which is obviously bathed in natural light.

[10:50] There's a skylight, there is a view of the terrace,

[10:54] there is a terrace on the roof in this building, planted with vegetation,

[10:58] it is a cultural space also for display.

[11:01] It is understandable that at present, in this image,

[11:03] the fact that the furniture is a bit large it could be moved slightly

[11:06] to make a little more space

[11:07] for events, to hold events.

[11:09] But it respects the surface area, it is a generous space.

[11:13] We also come back to the traces of the Centennial villa

[11:16] You may notice the windows which are here

[11:19] we would like to recover a few fragments, but also the idea

[11:23] of the coffered ceilings that can be found in this space.

[11:28] So certain small elements which allow the space to become

[11:31] interesting and the beautiful natural light.

[11:33] But there are some key points for the overall organization.

[11:38] So if

[11:39] we continue with the planning, what we see here in pink

[11:42] and the entire animation sector, so we took great care to ensure that this sector

[11:46] is autonomous, can be managed independently of the library.

[11:50] So, from the lobby, we have access to all sectors.

[11:54] The next piece is the administrative sector with a little

[11:58] that is near the main entrance for book drop-off, then

[12:01] immediate processing of the deposited documents.

[12:04] And after that, we move on to the youth spaces.

[12:08] starting with the sector for the preschoolers which was illustrated earlier.

[12:12] And everyone has direct access to the outside.

[12:17] I'm approaching here, but from sector

[12:19] for the preschoolers, we go out, we go down a very gentle slope.

[12:22] one (in) 20 is very gentle.

[12:24] So we end up at the playground, then the same thing

[12:27] at the top where you can get out and therefore have access to the park.

[12:30] It's the permeability with the park,

[12:33] it is on all sides.

[12:35] In this one,

[12:36] This is the teenage zone and above the one

[12:39] that wraps itself around the level of the terrace that is there.

[12:43] Right, this is the adult section.

[12:49] The bistro above,

[12:51] and we tried to place it

[12:51] in a strategic location to give it a chance to live,

[12:55] that is to have,

[12:56] - I'm going to get closer - to give it a chance to live.

[13:00] So visible from the street so that it is accessible,

[13:02] we see parasols and tables, chairs that look attractive

[13:06] but also allows to feed to the hall and entrance.

[13:10] So I'm going to go quickly,

[13:13] but when you leave the hall, you also have this easy access to the roof.

[13:17] So the stairway is open, it's not an exit stairwell,

[13:20] it's a stairway that is present in the space that calls to us

[13:24] and the elevator just next door gives us access

[13:27] to a space in a space, on the terrace

[13:32] which opens

[13:33] on a small entrance hall which is large enough to

[13:37] welcome a number of people, to organise an activity on the terrace

[13:41] and provide access to manage the mechanical spaces,

[13:45] to the maintain these areas.

[13:47] And we might even be able to improve it with a small storage area

[13:51] to really have everything you need to enhance the roof space.

[13:56] Storage, direct access to elevator, etc.

[14:01] Turning quickly to the elevation view

[14:02] obviously, as we said at the outset, it's

[14:04] when we propose a building which is entirely on one floor,

[14:07] which is always,

[14:08] always, always connected to the ground, no matter where the ground is.

[14:11] But it's not a space that's absent of spatial variation in verticality,

[14:16] because the central space, the hall, is on two floors, double height.

[14:22] In fact, it already allows us to see that there

[14:24] is a terrace, there's light coming from above,

[14:27] so it's not a building which is flat "boring"

[14:29] if you like, there's something going on architecturally

[14:32] when you walk through it.

[14:35] In axonometry,

[14:37] a summary of the programmatic elements we've just seen together.

[14:40] So the view we see here is the view starting with teenagers, towards the

[14:44] outside, the porch or the exterior on the west side.

[14:49] And we look across space to adults.

[14:52] So it's a space which is half inside and half outside.

[14:55] So this transparency makes for a lively atmosphere

[14:57] or programming outside.

[14:59] And we can also see the canopy also allows to manage solar gains, etc.

[15:04] A very open building onto the outside.

[15:09] We're going to talk now a little about constructibility,

[15:11] technical performance and budget.

[15:13] Obviously, this is a project which is fairly easy to build.

[15:17] We're proposing a beautiful wood structure, a bit like the one shown here

[15:20] in glue laminated timber

[15:22] It's a highly organised system, very efficient.

[15:25] A grid measuring 6.5 metres by 6.5 metres, with standard dimensions.

[15:28] There is only one dimension which is not the same,

[15:30] is in the multipurpose room.

[15:32] So in terms of efficiency of the budget, in terms of carbon footprint,

[15:36] we know that wood is very good for this.

[15:38] So the entire first floor is truly made of glue laminated timber.

[15:41] And in terms of wood, we also propose an exterior veneer

[15:45] in wood as part of the same strategy

[15:46] of sustainable development, which for us is the material to put in a park

[15:51] As for the programming of the inside how it works,

[15:54] we can see that

[15:55] everything that is mechanical, electrical is centralised under central ceilings

[15:59] which allows lateral diffusion to preserve the expression of the wood

[16:03] in the spaces in height, so double ceilings.

[16:06] So floor to ceiling at ten feet

[16:09] twelve feet under the beams and almost fourteen feet below the roof deck.

[16:13] The green roof above to promote biodiversity, of course

[16:18] the terrace and its glass railing.

[16:21] So what we see here is an image to the activity room.

[16:24] You can see the wooden ceilings, the large porch balcony and the interior space.

[16:30] For the wooden structure, the is wood slightly

[16:32] whitened, it is assembled very efficiently.

[16:36] It can be dismantled in 60, 70, 80 years. As for dismantling,

[16:41] the notion of sustainable development, it is present in this building.

[16:44] That responsibility.

[16:46] And for us, it's a really nice way

[16:48] to take it upstairs where it's hidden.

[16:51] But it's a wooden structure that has a very, very conventionel construction.

[16:56] As for our sustainable development strategies,

[16:58] quickly,

[16:59] the management and enhancement of water is important.

[17:01] Reducing our carbon footprint, we talk about it a lot, but it also has a social imapct

[17:06] which is also really important to us

[17:08] in terms of flexibility and respect.

[17:12] Mechanics :

[17:13] Highly efficient, centralised systems.

[17:16] We're aiming for economies of scale,

[17:19] long-term management and performance,

[17:23] but also everything that is acoustic, the choice of materials.

[17:27] And it's a centralised system, which, of course, also makes it possible to maintain

[17:31] easily all these systems.

[17:33] A brief word on the budget, obviously, we're very happy

[17:38] of our budget performance. This building was designed with the budget,

[17:41] from the outset, we didn't build the building to estimate it at the end.

[17:44] That is why that we are proposing a balanced budget,

[17:47] in which we even have some space to work.

[17:49] And I think that comes from our way of doing things, to draw on our experience

[17:53] building library buildings in Montreal, Quebec and municipal environments,

[18:00] and this approach was really conscientious from the start.

[18:03] A quick word on the surface areas.

[18:07] A quick word on the surface areas.

[18:09] Quickly,

[18:10] an addendum added 200 square metres of additional surface area.

[18:14] We managed to integrate it, which means that the gross floor area of the building

[18:17] that we're proposing today, it is balanced at 0.5 or 1%.

[18:21] But the real benefit that we realized, it's with a building

[18:24] which is very, very compact and very efficient.

[18:26] We gain 100 net square metres, which is no mean feat

[18:29] and that's what allows us

[18:30] to provide the space on the roof which was not originally planned.

[18:34] Very quickly

[18:36] In terms of universal accessibility, I think

[18:38] All that we can mention,

[18:39] is that is what we're aiming for and we want to get a perfect score.

[18:42] So we started by developing an approach with one storey,

[18:46] an approach that is linked to the landscape with 360-degree view from the building

[18:50] and a simple way to move around the building.

[18:54] Perhaps an important question we've been asking ourselves too.

[18:57] Some have seen it in

[18:59] our preliminary texts, we want to talk about benevolence and respect

[19:03] but we don't want to use the notion as a portmanteau hanging in the air.

[19:05] We want to know exactly how can an architect

[19:09] work to truly integrate benevolence in projects.

[19:12] So, by unpacking the word and the theme, we realized

[19:16] that we work a lot around of light of residential objects,

[19:20] around listening, which means paying attention

[19:23] around taking good care, that is

[19:26] to have a light that welcomes us, a warm light, a nightlight

[19:30] so the wood grows outwards and in terms of safety.

[19:35] So 360 degrees of the building, lit from the ground up, to keep a human scale.

[19:39] So we worked really hard to insert these ideas of benevolence.

[19:45] Allow me to provide a quick conclusion.

[19:47] I think there are many,

[19:48] we said several things, and we presented it very quickly

[19:51] in 20 minutes, but there may be some things

[19:54] that we'd like to be retained more specifically, it is first and foremost

[19:57] we make you an offer where we really want to integrate

[20:01] the memory, the building, the park, its history and heritage.

[20:05] Truly integrated, like an ecosystem where the two are interdependent.

[20:12] It's a building that's easy to "build".

[20:16] these are repeating squares.

[20:18] It's a democratic building, which is open, which is transparent,

[20:22] which is designed to be welcoming and accessible.

[20:25] So these are really themes, contemporary concerns

[20:29] that we try to reflect throughout, revisit an older villa.

[20:35] Thank you, Thank you.

[20:56] It's ... yes yes

[20:56] It's not so much a question.

[21:03] If I have a question.

[21:05] Um. I was wondering about

[21:08] would there have been any way

[21:11] integrate a function adjoining the roof terrace?

[21:16] Because I can see that there are the mechanical rooms, but

[21:19] I imagine that in the program it didn't really allow for that,

[21:24] The space created there is in proliferation

[21:27] OK We certainly can, there is space because, as a percentage of the roof

[21:32] we use a small part to build

[21:35] the mechanical area, a small hall

[21:37] and access to the terrace.

[21:38] Working with you on the team

[21:41] I think there

[21:42] is a way to play a little with the programming, moving square metres,

[21:45] there is space.

[21:47] That's one thing. The structure can accomodate it,

[21:49] definitely. This roof can support snow, etc.

[21:52] So it's not an issue, it's an issue of surface area and the PFT.

[21:56] So at that point we increased but it can be done easily because of the structure.

[22:01] I could perhaps add that if it's a library function

[22:04] for exanmple the reading room or room or exhibition complement,

[22:08] in my opinion, it is indeed feasible by playing with the communicating elements

[22:13] with square metres and redistributing.

[22:15] But we had taken the point of view that 100% of functions are

[22:19] on one level

[22:20] for accessibility reasons, but it's something that can be discussed.

[22:24] It can be hard work because we know that in terms of the budget

[22:28] we know that square metres on the ground cost a little more than square metres (upper floor).

[22:31] Only if we had worked,

[22:32] to tighten a little on the ground level

[22:36] to remove from and move it to upper floor is a possibility.

[22:47] Thank you.

[22:48] I'd like to add a little more with respect to the terrace.

[22:51] I would like to have your,

[22:52] your vision and intentions when you created this space,

[22:56] which was not necessarily in the PFT.

[23:00] But.

[23:03] Microphone.

[23:10] Good, I think, for us.

[23:12] We were all struck by the beauty of the lake.

[23:14] We want to see it, we want to give access.

[23:17] At the same time, there was also the issue to not place the building

[23:21] too far, trying to reach the balance between the boulevard and the lake.

[23:25] And we thought, well, there's that, there certainly is,

[23:28] if you go up one floor, There are certainly points of view here,

[23:31] very calm, interesting, soothing views, and so we wanted to,

[23:37] we worked on the project to create that space.

[23:40] But to continue,

[23:42] we think that it could indeed be improved.

[23:46] What we often do in the planning process is that we try to

[23:48] install the staircase and elevator very, very close to each other.

[23:52] So if for example, we arrive with a person

[23:54] who has mobility problems, the experience of the place

[23:59] is not different.

[23:59] We take the elevator, we take the stairs, same point at the top and we have

[24:03] we have experience which is exactly the same.

[24:06] So we thought about these things, then we hesitated

[24:10] to move up more functions here, but it's a possibility.

[24:14] But for us, it was to create a contemplative space,

[24:19] but also the terrace that we propose is sufficiently large

[24:22] to programme it on a more sustained basis. From an economic point of view, it is often a support for programming.

[24:29] To be able to see the site below

[24:32] it's a great place to inhabit.

[24:36] Micheline - If I may say so. Of course the river, we are on a riverside

[24:44] On the scale

[24:45] of Montreal? Here.

[25:00] It really is.

[25:08] There are lots of ideas for programming. That's for sure.

[25:17] Thank you for your presentation, it's much appreciated.

[25:19] I really like the idea of the perimeter that is cleared, but what I'm seeing

[25:26] on the plans is that the shelving is very narrow and very,

[25:31] it feels really tight.

[25:33] Wouldn't we be able

[25:36] to lighten the shelving space a little,

[25:40] creating therefore a little more brightness and...

[25:44] Of course, we won't hide it from you, we work a lot,

[25:49] alot with libraries,

[25:50] and the issues we find, they are pretty much always the same.

[25:53] In other words the surface area allocated to shelving

[25:56] it is limited. We we like to spread it out, to make them bigger,

[26:02] but at some point you're caught between

[26:05] if I put all the shelving at a lower level then I take a lot, a lot,

[26:07] a lot of surface area, well we have less space

[26:09] to put in armchairs, people, spaces.

[26:11] So what we are proposing and we do it systematically,

[26:15] you have to enter into a discussion, then in a relationship with librarians,

[26:20] you need to see what is the profile of the collection,

[26:23] how many books, how to place your docuemnts.

[26:26] A little strategy sometimes goes a long way reduce shelving by counting

[26:31] on the fact that there are 20 or 30% of of the collection is in people's homes.

[26:36] There's no need for empty shelves, so we're cutting back a little.

[26:40] We're obviously pushing the development for even more

[26:43] collections in people's homes, but we really need to work together

[26:46] to gradually, not quickly lower the shelving and then widen it.

[26:50] But we had a challenge in this project where space was at a premium.

[26:54] But I think that this work, it continues, I think, with the team

[26:57] in place, there are strategies, there are, there are philosophies too

[27:01] of approaches in library science. Obviously,

[27:04] we want to give as much space as possible to people and perhaps less to books, even though books are

[27:08] one of the components of the cultural centre

[27:10] and the library, now DVDs, there are films, lots of stuff.

[27:14] We know it's evolving. So it's a relationship to work on with you,

[27:17] But,

[27:18] I think we have all the skills to develop this project together

[27:21] and that would show

[27:21] perhaps the approach is to give people more space

[27:26] at the windows, a recognition

[27:28] that a book is a little anonymous on a tablet.

[27:31] I'd say we need to finalise this work on the scale.

[27:35] Perhaps just to complement several libraries which

[27:38] we've worked on and which have recently opened are literally being robbed.

[27:42] Meaning that the number of loans is multiplied by three.

[27:46] Well then, all of a sudden, we're removing shelves,

[27:48] rearranging the shelves

[27:50] we start to create space.

[27:53] I think we can bank on the success of a

[27:56] this infrastructure to try and prune

[27:59] ahead of time if you like.

[28:05] Quickly.

[28:07] First of all, I thought I really enjoyed your analysis

[28:11] vof illas through time, and therefore through history

[28:15] a great way to anchor yourself in the site, in the landscape without having a landscape anchor that is organic.

[28:22] So I think that's a great success.

[28:25] Obviously, this leads to to a perfect geometric shape which is square.

[28:29] I think you've succeeded to make a very, very nice entrance

[28:32] by making a subtraction of the first dial

[28:35] in the entrance and form a cynical entrance that is

[28:39] particularly successful.

[28:41] I have two questions, one of a theoretical nature

[28:44] and a functional one.

[28:47] Can you talk concerning the plan,

[28:50] you spoke of course, Palladio, you mentioned Le Corbusier

[28:53] are there any traces, steps that guided the development of the plan,

[28:58] and are not in the plans at the moment?

[29:00] Maybe there isn't one and we know for sure, clearly, you haven't followed

[29:03] the symmetry of Palladio. There is perhaps regulating layouts in a manner of

[29:07] more organic like Le Corbusier. Then there's a functional question,

[29:12] the problem is obviously to liberate the perimeter.

[29:14] We have a centre that becomes relatively opaque.

[29:18] This is a question that has been raised

[29:19] by the Technical Committee. From the counter

[29:23] we're a bit compartmentalised.

[29:25] The collections on the south side are not necessarily visible,

[29:31] on the lake side. And you can't see the adult collections

[29:33] from the entrance. It is not necessarily easy to find your way around.

[29:38] So obviously there's going to be some use for this.

[29:39] People will eventually discover where are they going. Can we imagine

[29:43] another way of drawing the plan with a centre which is

[29:46] perhaps more transparent in relation to the entrance ?

[29:50] Maybe going backwards.

[29:51] Yes, I think we can look at the planning, the challenge we've set ourselves,

[29:56] if you like, is the question of the management of opening hours.

[30:01] In other words, the reception must manage all the animation areas

[30:06] which are, which have nours of operation, which can be extended and different.

[30:10] Access to the library must be blocked.

[30:12] So it looks like it's created like, effectively a hall with a series of

[30:17] functions, and it hides the library a little.

[30:21] Maybe we said to ourselves, but every time it's an interesting surprise

[30:25] to arrive and return into an open space.

[30:29] But to answer the question directly, I think

[30:33] there's a way to maybe move a little certain parts from the centre

[30:36] such as the computer laboratory which was pretty much in the middle

[30:40] because it straddled the animation and the library.

[30:46] So we put it right in the centre.

[30:47] It blocks a lot, we tried to make it transparent.

[30:49] Of course, We're aware of this issue.

[30:52] And perhaps to return to the question more theoretical, but yes, we had fun

[30:56] with the codes, maybe more the codes of Le Corbusier, modern architecture

[31:00] than the classic codes, and then the regulating guidelines.

[31:04] On the other hand,

[31:06] the thing we were doing that

[31:08] seemed to us to be an inversion, is that these large villas

[31:11] modern or antique have a detached relationship with the landscape.

[31:15] We are above.

[31:17] Whereas we tried to propose a tactile relationship,

[31:20] you can almost open the door and touch the grass, all that.

[31:24] So we really tried to reverse the classic proposition

[31:29] or 'ideal' of these villas.

[31:32] I would add perhaps for

[31:34] the frame.

[31:35] hum

[31:36] obviously, as you can see, for the PFT

[31:38] resoect exactly the surface areas, etc.

[31:40] I think we

[31:41] have ideas for opening up the frame, but we would have gone against the grain a bit

[31:44] of PFT surface areas. So we really wanted that, to address this subject.

[31:49] The size of certain rooms, I think we'd be able

[31:52] to create space even within the space to open up the frame a little.

[31:57] There are strategies too

[31:58] that we can take to open up a little,

[32:00] not too much, it is interesting to have this heart and to be able

[32:03] to then discover later the library section.

[32:07] So it's a game, but I think that you have to work from the inside.

[32:09] You've seen that we respect the square metre

[32:13] But it happens.

[32:14] Overall, we would be able to work

[32:17] inside.

[32:27] Thank you very much for your presentation.

[32:30] It cleared up a few points.

[32:32] I really appreciate your vision

[32:36] very general of the development of the entire site.

[32:39] But I do have a few questions.

[32:41] You speak of

[32:45] the use of rainwater and then it's a good direction

[32:49] for ecological management to use rainwater.

[32:54] But I'd like to understand a little more

[32:57] the way you propose to operate.

[32:59] Where is the outlet for this water going to be?

[33:02] Will there be enough (water) to create something interesting?

[33:07] If you could elaborate on this a little?

[33:11] Perhaps I should refer to our colleagues

[33:14] civil engineering consultants.

[33:19] The outlet is actually going to be the river, the lake. It will flow towards the drainage ditch.

[33:24] which already exists in the park adjoining the marina.

[33:36] Now I'm going hear, right? (opening his microphone)

[33:40] Those who don't understand, is that the outlet will be the lake,

[33:44] the river at the end of the line.

[33:45] So we're using the ditch that used to run through the middle of the park.

[33:49] between the marina and the park to discharge water into the river.

[33:54] So we're not creating a new outlet

[33:56] towards the river, we don't want to go digging in the banks.

[33:59] So the easiest way is to use existing elements.

[34:03] We have the chance there's already one in the park.

[34:07] I would add, perhaps, that

[34:08] for the volume of water that we collect from the roof, that we collect

[34:11] on the site, the idea is to

[34:13] to work together to have good surface areas,

[34:17] but from the architect's point of view, I think Micheline, who works in landscaping, could add to this,

[34:22] But what we wanted was for this ditch here which for the moment,

[34:27] it's not clear what it does,

[34:29] there is a fence, there's some rock around it we wanted to bring to life

[34:32] to activate it, then turn it into a character in the park.

[34:36] You go over it, you come back over it, we enter the building, so that we can

[34:41] understand that water is an important resource which we manage

[34:47] let's say intelligently but also visible to people.

[34:50] I think it's really the ideas that were behind it and we could also see that we

[34:53] even tried to flirt a little with the building so that it would be seen

[34:58] from the inside, that it contributes to the final composition of the project.

[35:03] that's how we approached it.

[35:07] A second question you offer on the site

[35:10] a sector for a special events area.

[35:17] It's a bit far from the building.

[35:20] I was wondering how you plan

[35:26] for certain events when it

[35:28] rains or for electrical connections?

[35:33] Is there any possibility to see it a little closer to the building

[35:37] or is it something you considered?

[35:42] There are several things.

[35:43] In other words when we first decided on this park

[35:47] there are frequentation habits that are installed, there are zones,

[35:50] there are paths, people are familiar with them,

[35:52] they have a mental image which way to go.

[35:55] Then we tried to keep part of this structure

[35:59] of the park, obviously by removing the asphalt.

[36:02] But what we also saw was, it was almost the opposite,

[36:05] is what we imagined, for example, if there was a major event

[36:08] at the amphitheatre, to support it with toilets, with

[36:12] maybe trailers

[36:15] "road cases" as they say.

[36:17] If there are shows, if there is,

[36:18] there's equipment, it required a space not too far to come and install them.

[36:22] So we said to ourselves

[36:24] perhaps this former parking area

[36:27] could help us, while the other parking area

[36:31] that we have tried to make very linear, and on the periphery,

[36:35] well, it seemed a bit far away finally.

[36:38] So that's why we proposed to keep it.

[36:40] Then we thought, OK, but if we have a big tent, if we have things

[36:44] we can use the existing area, we know where it is,

[36:48] we know it exists.

[36:52] You can really see that there's a lot of space here.

[36:55] If we ever wanted to develop

[36:58] what we have because we have the space for it we just wanted to reuse

[37:01] I don't think we had it in our heads the biggest events,

[37:03] but the MSO presentation that's coming up

[37:06] With trucks, etc. It can be devastating

[37:09] We really wanted to make sure that there was good infrastructure

[37:12] at this level, but I don't think it changes the idea

[37:15] to be able to develop things nearby, perhaps on a smaller scale.

[37:21] I went to visit the park earlier when I arrived a little early,

[37:26] and there were the musicians. They were near the lake

[37:32] There were people everywhere. All along the river.

[37:36] artists, they had their intimacy. I think this idea

[37:45] to have privacy pockets that reinforce

[37:48] the park's landscape quality

[37:51] while reusing and recycling the existing structure

[37:55] in terms of the ecological footprint, we need infrastructure

[38:02] to accomodate markets

[38:06] the trailers when you have theatre artists

[38:09] and this infrastructure is already there.

[38:14] And I think this is an opportunity to use it

[38:17] There's no need to demolish it and spending money to demolish it

[38:21] And the space is already well established in relation to the park

[38:25] So it creates this space of intimacy between the different...(inaudible)...

[38:32] This creates some great options.

[38:35] We were also told that

[38:37] you manage 12,000 square metres of surface area.

[38:40] I'm being very pragmatic here.

[38:41] But you manage within your budget 12,000 square metres (for the site).

[38:45] But think with us about the park of tomorrow, then the next decisions,

[38:49] then the next developments.

[38:50] So obviously, this reflection it can be pursued,

[38:54] over several years, then be specified, then adjusted according to needs

[38:59] and even to the extent of changes that the cultural centre

[39:03] is going to have on the way we live and walk around in the space.

[39:09] And finally, another question in relation to the site.

[39:12] I'm concerned about the maintenance costs in the future.

[39:18] After construction of the building and the site development,

[39:22] you mentioned that there will be renaturalised areas.

[39:28] There will be a flat roof.

[39:29] The building will be made of wood.

[39:31] There will be wooden terraces.

[39:33] How will it be maintained?

[39:36] What will this mean for the municipality for additional costs

[39:41] in relation to the use of materials

[39:44] that are less interesting, let's say.

[39:47] It depends on your point of view.

[39:50] We really have this idea

[39:51] because, for us

[39:53] I think that the notion of sustainable development is not just for today,

[39:56] it is in the future too. Just the question of wood,

[40:01] the wood we use is guaranteed for 50 years,

[40:05] if ever there was something to repaint or whatever,

[40:08] it's much simpler and less expensive than masonry, which would need

[40:11] to be repointed for example,

[40:12] or metal cladding, which we will not necessarily see the rust behind it.

[40:18] For us, wood was ecological, but it was easily maintained

[40:23] in the very long term.

[40:24] So the product we're specifying is a "heavy duty" product.

[40:30] he has a beautiful

[40:32] ecological portion, but a durability.

[40:35] A bit like Saint Edmund's Church that you have here

[40:39] there is wood on it, which is very well maintained.

[40:41] So we saw the infrastructure longer-term, easier to maintain

[40:46] than a building in metal, aluminium, all-glass, etc.

[40:51] Because this notion,

[40:52] easily adjustable and much less expensive than

[40:57] masonry or things like that.

[40:59] A huge number of buildings are being repaired

[41:03] municipal offices, housing, masonry, etc.

[41:04] and steel lintels cost a fortune that you can't see.

[41:08] So for us it was easy. It is a carpenter, someone who paints,

[41:11] practically done by the city, not necessarily with a large contract

[41:14] So the whole concept was interesting.

[41:16] Then I think for the notion of landscape,

[41:21] flat roofs and green roofs, are low maintenance.

[41:26] There are maintenance plans that come with guarantees,

[41:29] to maintain it frequently.

[41:30] We don't imagine very complicated species

[41:33] they're not big trees, it's really already flowered plants etc.

[41:37] So the basis seems to be

[41:39] basic enough and everything else on the site, but

[41:42] is to keep it as natural as possible. We didn't see expensive flowers, a special arboretum

[41:49] Maybe it's about letting nature take back its place.

[41:52] In general. Micheline...

[41:55] I might add that the boroughs are currently...(inaudible)...

[42:00] ... with a vision of ecological transition

[42:04] where the aim is to reduce maintenance

[42:07] in terms of resources or impact on the sites

[42:13] the equipment required to maintain

[42:16] and an example that you chose

[42:18] it's management that lets you grow a little more grass

[42:23] gradually... (inaudible)

[42:25] ...(inaudible)...

[42:27] we are reducing the ...(inaudible)..., we are reducing greenhouse gases

[42:31] This is a small example

[42:33] In terms of maintenance too

[42:36] of the infrastructure by creating a small bit

[42:39] which will evacuate the water a little further away from the infrastructure

[42:43] bring more water into the soil

[42:45] ...(inaudible)...

[42:57] For the maintenance it's happening

[43:00] These are elemnts that would require still three weeks to work on it

[43:06] but the aim is to prevent...(inaudible)...

[43:12] Perhaps a little clarification,

[43:14] the roof terrace is actually mineral.

[43:17] Then all the fragile parts of the building are clad in aluminium.

[43:21] So we know about aluminium we have another

[43:23] 45, 50 years on painting all that.

[43:26] So really the end that is proposed in cedar, they

[43:29] are the slopes outside the building.

[43:32] So it's also something that can be revisited,

[43:34] The roof is made of concrete slabs, there is no wood

[43:40] Thank you for your time.

[43:44]

[43:44] much and I'd like to come back to some of Manon's questions.

[43:50] Of course, the historic villa, it's a very good start.

[43:54] it's much appreciated by many people on the jury, etc.

[43:59] As a way of starting your project.

[44:03] In fact, I also appreciate the ambition of

[44:06] to take this, then imagine

[44:09] that it can be, that we can have a link between that and benevolence.

[44:14] And I think that benevolence is a type,

[44:17] a great ambition for architects.

[44:19] That's laudable, but at the moment, I find it a bit like an intention.

[44:24] But I'm curious to see, can you give me

[44:27] strategies or real examples how you're going to do it,

[44:31] How are you going to make this very ambitious link?

[44:36] Obviously, these are tests we're running.

[44:39] We had fun deconstructing the word benevolence, see where

[44:43] it came from in its etymology.

[44:45] Here, it comes from bona vigilantia

[44:46] which comes from the Roman, etc.

[44:48] So, but the idea for us,

[44:52] I think that always came back to us was the idea of a nightlight.

[44:55] In other words

[44:57] a soothing relationship

[44:59] to the light, that's how we

[45:02] interpreted it.

[45:03] Obviously, there is the benevolence in relationships,

[45:06] in communications, in the programming of the venues,

[45:08] but there it is.

[45:09] What we tried to do, is material benevolence.

[45:12] For example, we thought that if the wall behind the curtain wall is made of wood

[45:18] and shine the light on it, that light is going to come back and shine forth

[45:22] outwards.

[45:23] Obviously, at dusk, when the equation will be reversed,

[45:27] for example when you look through the building.

[45:29] So we imagined that this, for us, would create an inviting, soothing atmosphere.

[45:35] We also went to the as I was saying, safety, in other words

[45:39] that caring means paying attention, that there is no black area

[45:42] and pocket where people can hide, especially in a park.

[45:45] There are shadows in all this.

[45:46] So we tried to get the building to grow the light

[45:50] on the ground on all sides and to make you feel seen too.

[45:54] So maybe is to take a bit of the, the

[45:58] negative elements ... crime

[46:02] So we tried to

[46:03] deconstruct and make small gestures on a small scale.

[46:06] When you walk into the counter, when you walk up to the reception desk,

[46:11] we put lamps on the table, it immediately gives an impression of

[46:15] It's a bit like being at home, I am welcomed

[46:18] a bit like at home, so it's small gestures, We're still looking

[46:21] how, how to do it, but it's there.

[46:25] Yes. I have two other questions and we have 4 minutes left

[46:31] Mélanie then Anna.

[46:32] Have you finished, Gavin? I was!

[46:35] Thank you very much for your time.

[46:44] So I had a question.

[46:45] For us, it's very important the link between the park and the building

[46:50] having positioned the main entrance.

[46:53] Well, facing the boulevard, that's normal, but the bistro area is up front.

[46:57] Can you tell us a little about how you see the link with

[47:01] the lake and the building, access?

[47:08] Well, I can get started,

[47:09] if you want to continue.

[47:09] But we are,

[47:10] what we imagined, is that obviously there is a question of access management.

[47:13] See how you allow people not to go through the main entrance.

[47:17] But we worked it out to create openings all round.

[47:20] In other words

[47:22] can be based on the plan, we thought we could get around,

[47:26] onto the terrace, then.

[47:32] Yes, well maybe.

[47:33] Here we see...

[47:36] where the drainage ditch turns.

[47:39] There's a way to get there

[47:41] from the park, to enter onto this porch and enter the building.

[47:45] With your permission,

[47:46] management allows it, so we imagined that it was quite permeable.

[47:49] Then on the other side, it's the same thing for example you can get in from the river,

[47:55] I think

[47:55] the idea we had was to use the porch as an interface.

[47:59] And from the moment we are on the porch, there's a way in.

[48:02] Will we allow it? is it allowed at certain times of the day?

[48:06] or under certain conditions?

[48:07] But that remains to be seen.

[48:09] But we, I think we saw these porches

[48:13] as interfaces a little thicker and a little more

[48:17] that make you want to

[48:18] to sit on the gallery if you want, even if you don't fit in

[48:21] we can still shelter from the rain, move in, be with the building.

[48:26] So it's a bit of an interface as we imagine it.

[48:30] There are three possible entries

[48:34] Several ways to have a single

[48:35] entrance.

[48:36] We like libraries with several entrances.

[48:41] But the idea here was that the main entrance

[48:44] directly at the front, to have a presence in the bistro, etc.

[48:48] It's a well-known fact that you want your bistro to work

[48:53] Obviously, we could really see the entrances

[48:55] through the porches

[48:59] This is often associated with

[49:01] democratisation to greater permeability,

[49:05] a little

[49:05] like entering a metro kiosk where it's coming in from everywhere,

[49:09] but of course, it has to be linked

[49:11] with the security of the collections, user safety.

[49:14] So it's a question of seeing how, how it can be modulated.

[49:17] But the potential is there in the project planning and organisation.

[49:29] Hello, I'd also like to

[49:31] mention that your introduction was

[49:34] very good, very good there, with existing buildings.

[49:37] I'm going to go back for a bit on the flat roof because

[49:41] you said it was a bit of an add-on

[49:44] due to the fact that we had materials.

[49:46] more, being an addition to the second floor,

[49:49] this would mean that programming will be much more difficult

[49:52] given that the largest activity takes place on the ground floor,

[49:56] this would mean that the flat roof could be underused,

[49:59] as you can see in other libraries

[50:01] that have been built in the last 10-15 years.

[50:05] So instead of putting square metres

[50:07] in a place that may be less accessible why

[50:12] why don't we make them in the corner south-west of the building,

[50:16] as you already have the north corner is extended to include the

[50:20] to include the landscape inside the building at this corner.

[50:24] On the other hand, views of the lake are really in the south west,

[50:28] so why not incorporate these square metres here to help you benefit from

[50:32] especially the transparency of the building?

[50:34] You have beautiful large windows with a view of the lake.

[50:37] On the other hand, we can appreciate it a little less according to your 3D images.

[50:40] As soon as you cross the these windows,

[50:44] we have less visual access to the lake.

[50:48] But maybe the first thing

[50:50] Then I think we understand you completely.

[50:53] Sometimes

[50:53] we build terraces, library reading areas,

[50:55] but when you look at the number of days in the year

[50:57] where you can sit down, then read outside even today,

[51:01] It might be a bit hot, All this takes furniture.

[51:03] And as there are no functions adjoining,

[51:06] it's not necessarily natural

[51:08] to say I'll get my book, then I'm going to go up all this.

[51:11] I think the way it was perceived, it's more like.

[51:15] Because it's a cultural centre,

[51:18] so it's still a component can be event-driven,

[51:22] which can be added to the other functions of the cultural centre and perhaps not

[51:27] exclusively associated with the library.

[51:30] It feels like that it is an added value

[51:33] because creating a relationship,

[51:38] can be

[51:38] we need to work on orientation and then what exactly we see as a function of

[51:41] the canopy and all that,

[51:42] but it creates a personal relationship and intimate with the river.

[51:47] That's what we liked when we visited earlier.

[51:49] We approached the water's edge, then we really had the impression

[51:52] to be elsewhere and that we were trying to reproduce that feeling.

[51:55] If

[51:56] you're alone or two on the terrace, as you approach the railing, you can see the water.

[52:00] We could see what that can be like that too, contemplative,

[52:03] less as a complementary function

[52:06] in the library.

[52:09] Thank you for your time.

2024-07-02 - Sur les traces du parc et de la villa Centennial

Transcript