[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.