[0:15] Hello everyone. Allow me to introduce myself: Amélie Turgeon, architect at Lemay.

[0:18] I am here today with Éric Pelletier, architect and Senior Design Partner

[0:23] at Lemay, and Patricia Lussier, landscape architect

[0:29] and Senior Design Director, also a partner at Lemay.

[0:32] We have with us, seated, Claude Décarie, who is an electro-mechanical engineer,

[0:38] and, at the end, the Vice-President of Strategic Projects at BPA.

[0:42] Then we have Jake Estoc, who is a structural engineer

[0:46] and a partner at Élément, and we have Sergio Callocchia,

[0:51] Senior Director of the Altus Group.

[0:54] So thank you very much for giving us the opportunity to work

[0:57] on this magnificent project. I will now give the floor to Éric.

[0:59] Just before I comment, I know that it's late for you all,

[1:03] so we're going to do our best to keep you interested until the end.

[1:07] And Amélie has a bag full of cookies and other things to nibble on for everyone.

[1:11] Snacks.

[1:13] A buffet.

[1:15] Yes, it's true, we're going to be a little undisciplined.

[1:18] I can't touch it. Plus, you told me.

[1:20] Sorry about that.

[1:21] Good evening everyone. We're really pleased to be here

[1:23] with you this evening to present our proposal. Our proposal for-

[1:28] So, I'm really happy.

[1:31] And we're all really pleased to be here today to present our proposal,

[1:33] which we've called a reinvented landscape.

[1:36] You'll see, it's a project we've thought through with all our soul

[1:38] and all our hearts.

[1:39] You know, designing a cultural centre, or a library,

[1:43] or an exhibition hall is not

[1:45] a simple thing. It's not something you can do in a rush.

[1:48] These are extremely complicated projects to develop.

[1:51] Why? Because there are many things to think about.

[1:53] And there are many conditions for the success of this type of project.

[1:57] The conditions for the success of these types of projects

[2:00] must first and foremost take one thing into account: the users.

[2:03] Because these are public buildings. And these are the most public buildings

[2:06] that we, as architects, have the chance to work on.

[2:09] And that's a big responsibility for us.

[2:11] So, to achieve this, we need to understand our users.

[2:14] The users are young people, and less young people. Those who can't read,

[2:19] the elderly, families, mothers,

[2:23] fathers,

[2:24] teenagers who are a little older. Those teenagers, who we want to interact with.

[2:29] We need to understand the users, which is essential for us,

[2:32] but we also need to understand the site.

[2:34] And that's one of the first conditions for success: understanding the site.

[2:38] Building a library or cultural centre in a town like

[2:41] Beaconsfield is not the same as building one in Montreal or Quebec City.

[2:45] We need to address the site.

[2:47] And, here, we are truly in the presence of an exceptional site.

[2:49] A unique site.

[2:51] Yes, there is Centennial Park, which is absolutely magnificent.

[2:54] We went to relax there earlier, just before the presentation,

[2:58] to watch the sunset, just to get rid of the last bit of stress that we had.

[3:02] So, it's an exceptional site, and it's important to understand that.

[3:06] It's also a

[3:06] site that needs to be redeveloped along with the marina.

[3:09] It's a site

[3:10] that the population needs to reclaim. And we saw it as a great opportunity,

[3:14] an opportunity to create something, something meaningful.

[3:19] Our project has become a link.

[3:21] A link between these two moments, between Centennial Park

[3:26] and the marina site. And that link is important for us.

[3:30] It's the one that will mark the transition to a new era,

[3:33] not only for the cultural centre, but also for the community of Beaconsfield.

[3:38] This reflection on the site,

[3:41] we need to understand it. And what struck us and still strikes us,

[3:44] and what strikes us every time we come to the site,

[3:46] are these magnificent trees, this view, these openings towards the river,

[3:51] this look and the presence of vegetation throughout the sector.

[3:56] And that, for us, was something important.

[3:59] It's something we had to preserve, because that's also what makes a site unique.

[4:03] That's what will make this project

[4:04] singular, that it will address this site only.

[4:08] And that is the greatest condition for success,

[4:10] one of the greatest, in any case. Addressing a project to its site.

[4:14] And our first thoughts, inevitably,

[4:18] began with one thing: the landscape.

[4:21] Because we had to forget ourselves, as architects,

[4:23] and leave all the space to the landscape, which was absolutely grandiose.

[4:32] So the landscape experience

[4:35] of the Centennial Park site and the marina has been transformed;

[4:40] we've reinvented the landscape to rediscover this site.

[4:46] So, as you can see, the building, as Éric mentioned,

[4:48] is embedded

[4:50] a little on the boundary of the two lots, so there's

[4:54] a desire to unify the whole site.

[4:57] So the forested area, the mature trees, the mature forest,

[5:01] which is, like, protected and even enhanced by plant strata

[5:05] to ensure the long-term survival of the park forest,

[5:09] and the marina area, which is also being regreened

[5:13] and enhanced with biodiversity, that will be integrated,

[5:15] to add to the appropriation of the site.

[5:19] We've connected with the neighbourhoods, we've

[5:21] opened up the views towards

[5:26] the Lake Saint-Louis, and now we're allowing a certain reconnection

[5:29] with the site, which allows a reconnection with the whole.

[5:33] So, to ensure a user experience, as Éric mentioned, for the users,

[5:38] how do we go about multiplying the moments, the moments of appropriation

[5:41] and making sure that we come to manage the programming,

[5:45] the functionality of the site?

[5:47] We created routes through the site to connect with active mobility,

[5:52] to connect with the woodland, the marina,

[5:55] the new cultural centre building and Lake Saint-Louis.

[5:59] So, the first route is the Civic Promenade,

[6:03] which connects with the civic hub at City Hall,

[6:06] where we are at this moment, which crosses the site

[6:09] and connects with the main hall of the cultural centre, to cross it

[6:14] and to lead to the marina, offering unique occasions

[6:17] for the community to come together

[6:20] for either small-scale theatrical experiences,

[6:23] film screenings and small community get-togethers.

[6:28] We also have the Cultural Promenade, which has been added,

[6:32] which is the main pedestrian-cyclist route to the main entrance

[6:36] of the cultural centre and also creates, like, an opportunity

[6:41] to create a promenade integrating works of art,

[6:46] historical interpretations of the different strata

[6:49] of the site's evolution, and even, potentially,

[6:52] to install artefacts from the demolition

[6:56] of the Centennial Building, which is about to be demolished, with furniture that is accessible to all

[7:01] and modular, and with the potential to integrate

[7:04] outdoor reading areas in connection with the library.

[7:08] The Cultural Promenade criss-crosses throughout the entire site.

[7:11] Then, there's the Recreational Promenade,

[7:12] which is the most family-friendly, if you like, because

[7:17] it joins

[7:18] a promenade on the roof of the building, reaches a belvedere overlooking

[7:22] the entire space, and descends to allow

[7:26] the appropriation of the transformation of the ditch into a dry river,

[7:30] water management, rainwater management, and also where we have the play areas

[7:34] that relate to the interior programming of the library.

[7:39] Then, there's the Marina Promenade, which connects

[7:41] with the parking lot and the landscaped ditches;

[7:44] it also connects to the new harbour office

[7:46] and the new Boardwalk Promenade, which is located at the edge

[7:50] of the protected area where we have the marina's secure docks,

[7:54] and also an access to small boats near the beach, right next door.

[7:58] The Nautical Promenade will allow

[8:00] yachtsmen to launch their boats and

[8:05] pass through the harbour office, and the Events Promenade

[8:09] will define a larger-scale events zone,

[8:12] where temporary equipment can be installed,

[8:16] and it will also leave room

[8:20] for freestyle activities in the grassy area.

[8:24] Then, there's the Ice Promenade, which reflects

[8:27] the site's four-season potential

[8:30] with an ice walkway and winter events

[8:34] of all kinds.

[8:37] So, as you can see, the landscape is very important to us,

[8:39] and this reflection took place on several levels,

[8:43] and slowly the first sketches began to appear.

[8:46] It's one of the first.

[8:48] Well, it must not mean anything to you, that's normal,

[8:50] but, in this sketch, there are plenty of emotions.

[8:52] It's the first emotion,

[8:53] the first feeling of a place.

[8:55] It's the one that tells us where we want to go.

[8:57] And that's where ideas start to emerge.

[9:00] And that's where the thinking begins.

[9:02] On reflection and on what we have to do, too,

[9:04] as architects, because we have to insert a building.

[9:06] The project's success will be one where architecture and landscape

[9:10] come together.

[9:11] And, here, we're talking about the conditions for the success of the project,

[9:14] and what is very specific, here,

[9:16] is the right gesture. With a well-calibrated gesture in terms of architecture,

[9:20] or a gesture where the landscape will dominate.

[9:22] Because what we really want is to preserve this landscape,

[9:25] to retain its uniqueness.

[9:27] And the solution, we found it, is simply to lift

[9:30] the landscape and slide

[9:32] the centre underneath, through these landscape strata.

[9:37] This allows us to have a

[9:37] project that blurs the boundaries between architecture and landscape.

[9:41] Ce n'est plus un projet d'architecture, c'est un projet de paysage.

[9:44] Ce n'est pas un projet de paysage, c'est un projet d'architecture.

[9:47] The two are intertwined.

[9:48] That's what we wanted because that's what we find interesting about this site.

[9:51] That's what we think is relevant.

[9:53] But a large building that is only on one level, because that's another

[9:55] challenge we've taken on, keeping a single storey, is big.

[9:58] And to reduce the scale of the building, we decided to break it up a bit.

[10:02] This allowed us to take one of the wings and fit it into the park.

[10:06] And then, we create an interface that's a little bigger,

[10:08] with interactions that are a little more important.

[10:11] And another condition for success is to create interactions.

[10:15] Create interactions

[10:16] with users, but also with strollers.

[10:19] We came to split the building into two buildings, and we said to ourselves: "People

[10:23] will be able to walk through the building, whether they need to go there or not.”

[10:27] And that's where we create interactions; impromptu visits.

[10:30] This allows us to have

[10:31] a building that offers a marina-side facade.

[10:35] The building has all the facades, but no rear facade.

[10:38] The marina-side facade features one of the entrances inserted between the two volumes.

[10:43] The facade on the park side is also a main facade, which also has

[10:47] a central entrance that visitors are invited to enter through.

[10:52] So, we have a building that is permeable, a building that is open and accessible

[10:55] to all.

[10:57] This space, central for us, is the hall.

[10:59] It is the heart of the project.

[11:01] It's the space through which we'll be able to cross. It's also the space

[11:04] in which we'll be able to access all the project's functions,

[11:08] but, above all, it's the space where we'll find the reception area.

[11:11] And that, too, is important.

[11:13] Finding one's way around a project, whatever its size,

[11:16] is one of the criteria for accessibility,

[11:18] but it's also a criterion for the appropriation of the space.

[11:21] But we felt it wasn't enough.

[11:22] We decided to refract the building,

[11:25] and what this allowed us to do was open up views.

[11:27] From the heart of the entrance hall, you have a 360-degree view.

[11:30] of the site. There's a view of the Beaconsfield Boulevard,

[11:34] a view of the marina and the river, a view of the park, and a view

[11:38] of the marina plateau, as well.

[11:39] So, you can see everywhere. And you can find your way around the entire project.

[11:44] That's what allowed us to have

[11:45] a building where the layout simply divided.

[11:50] The lower part contains the library.

[11:53] It is projected into the wooded area, it is projected towards the marina.

[11:56] We see both.

[11:57] We're in touch with the site.

[11:59] The upper part is used for administrative activities

[12:03] and some meeting rooms.

[12:04] And the other part, the last wing, is the wing that is reserved

[12:07] for animation.

[12:11] So there are four sectors involved in bringing the hall to life.

[12:15] The first, the bistro, is near the main entrance,

[12:19] close to the parking lot, so it's accessible at all times,

[12:22] even when the library is closed.

[12:26] The second element

[12:27] that adds to the liveliness of the hall is the chute, the outdoor book chute,

[12:30] which is located near the main entrance, so it is accessible 24 hours a day.

[12:36] It is by the loan counter.

[12:38] We could even add a door

[12:40] to provide a more direct link to the

[12:43] multi-service counter.

[12:44] The third element is the multi-purpose room, which is a closed room,

[12:47] but with windows overlooking the hall.

[12:49] We could imagine it opening onto the hall for larger events.

[12:54] And one of the most important elements is the multi-service counter.

[12:58] So this one is on the library side.

[13:01] It faces the main entrance.

[13:03] It's close to the animation sector.

[13:08] All these elements are interchangeable.

[13:10] Our proposal today is based on our perception

[13:13] of your needs.

[13:15] It's a solution that makes it possible to have a reception desk

[13:18] with people who work there, who can inform, help

[13:22] and have a good view of the whole cultural centre.

[13:26] If we look at the library side, the first sector, the preschool sector,

[13:29] which is right next to the multiservice counter, which is adjacent

[13:33] to the children's collection sector with its play corner.

[13:39] And on the forested side, we have the animation room area,

[13:43] which is connected to the outdoors, so outdoor reading spaces.

[13:48] We could even imagine school groups

[13:51] that have been taught under the courtyard.

[13:54] It's linked to the fun trail that Patricia explained to us.

[13:57] I'd even go so far as to say that my children, who are there,

[14:02] are already very fond of the cultural centre,

[14:05] and my daughter would to say to me: "When can we go there?"

[14:08] So, I'm hoping one day.

[14:11] Then there's the teen collection, with the computer room

[14:16] and the creative room. At the junction of this sector

[14:19] with the youth sector, we could find a satellite counter.

[14:22] Otherwise, at the far end, we have the adult collection,

[14:26] dotted with lots of small, more intimate reading areas,

[14:29] all with beautiful views of the outside, and, at the far end,

[14:32] the large reading room, which is a quiet, contemplative,

[14:36] very warm room that really benefits from a diversity of landscapes.

[14:40] So, both the forested side and the maritime side.

[14:43] If we go back to the administrative sector with the outdoor book chute,

[14:48] with the administrative sector, which is very versatile, flexible,

[14:51] able to adapt over time. At the far end, we have the support areas

[14:54] with the staff rest room overlooking a small indoor garden,

[14:59] and if you go back to the hall, you'll find the meeting rooms,

[15:02] which are accessible from the foyer, which are visible from the hall,

[15:06] and which are even accessible for the administration sector.

[15:09] And it's in this sector that we could even imagine

[15:11] another satellite counter for the animation sector.

[15:15] So, on the entertainment side, at the far end, we have room 2-A, which benefits from

[15:19] beautiful northern light, ideal for art. Otherwise, there's the sanitary block, changing rooms

[15:23] and finally the multipurpose room, which can open onto the foyer.

[15:28] So the large central circulation area can open onto the hall and

[15:32] also onto the boreal forecourt, which is on the forested side.

[15:38] The boreal forecourt

[15:40] is truly immersive. It has lots of greenery, and it is on the forested side.

[15:44] We're entering a truly lush, green space, full of biodiversity.

[15:49] We can also see the transformation of the ditch into a dry river,

[15:55] a surface water management element, a sponge park

[15:57] that provides a very special entrance in connection

[16:00] with everything that happens in the mature forest.

[16:04] And we can see it here, precisely, the space that runs alongside the building.

[16:08] You can see the boreal forecourt, which is linked to the multipurpose hall,

[16:12] allowing cafés and small events to be held on the forested side.

[16:17] Then there's the facade along the Beaconsfield Boulevard,

[16:22] where there's the potential for a natural amphitheatre

[16:24] that can be used to project onto the blind wall there,

[16:27] gatherings that could take place facing that very street,

[16:32] in connection with the neighbourhoods, and the roof that allows

[16:36] universal accessibility, that allows the juxtaposition of architecture

[16:41] and landscape with slopes that respect the code,

[16:43] universal accessibility, the standards to give everyone access

[16:47] to this experience of landscape and architecture.

[16:52] The waterfront forecourt, which is on

[16:55] the marina side, is more urban, linked to the parking lot.

[16:58] The main entrance to the cultural centre

[17:02] has been fitted out with furniture, and potentially also,

[17:07] as Amélie mentioned, a terrace-bistro area linked to the bistro.

[17:12] And, as Éric mentioned, this opening, which really slides into

[17:17] the cultural centre, can be extended

[17:19] into the parking lot to host winter markets, summer markets

[17:23] and various events, fairs, of all kinds.

[17:28] As you can see, as you can really see,

[17:30] our project, the way

[17:31] we've developed it, is really a project where architecture

[17:33] and landscape are always in dialogue, no matter where you find yourself.

[17:36] And, for us, that was important.

[17:37] This dialogue between architecture and landscape

[17:40] will take place in an improvised public space

[17:44] that will be used.

[17:45] It also takes place inside, where you find yourself totally immersed,

[17:49] no matter where you are.

[17:51] The widths of the building were carefully calibrated

[17:53] to ensure that when people went inside, they could have access

[17:56] to this view, to this unique view.

[17:59] And for us, that was important.

[18:00] But it was also important

[18:01] that the atmosphere be relaxed. That's another condition for the success of a project.

[18:05] The comfort of users when they are inside is essential.

[18:09] We need to feel good, we need to find ourselves.

[18:10] There is a film-maker, Wim Wenders, who said that places are

[18:14] magical places, magical places to find yourself and get lost in.

[18:18] And that's more or less what we want to do.

[18:19] It's getting lost in a book, it's getting lost in contemplating

[18:22] an arriving sailboat or in watching the children play in the park.

[18:26] And, to do that, the whole project has to be calibrated.

[18:29] We decided to reduce the scale of the project.

[18:30] We didn't want to have a monumental project.

[18:32] We want a project on the scale of a pavilion in a park.

[18:35] And one of the first things we did was to take the wing of the library

[18:39] and reduce its volume, and gently follow the slope.

[18:43] The second was to take the administrative part

[18:46] and extend it, and connect it to the landscape.

[18:48] And that's what gave us the opportunity to mix

[18:51] the landscape, which embeds on the roof of the building, and to create,

[18:56] and once again, to blur that boundary between architecture and landscape.

[19:00] The structure of the building is made entirely out of wood.

[19:04] For us, it was important to have an all-wood building.

[19:06] We are in an exceptional forest.

[19:08] We couldn't imagine doing this project with steel or concrete.

[19:11] So we set ourselves this constraint.

[19:13] The walls are made of CLT, so they are load-bearing walls.

[19:17] The ceil-

[19:19] Excuse me.

[19:19] The ceiling is CLT, so it's really, it's expressed.

[19:22] This structure, it is expressed, it is present,

[19:25] it contributes to the warm effect that we want to create.

[19:27] And the tectonics of the project require no intervention

[19:32] other than leaving the materials as they are.

[19:34] Because the real star of the place isn't the architecture,

[19:37] it's the landscape.

[19:39] And that's what we wanted to do.

[19:42] 1 minute 30

[19:45] Yes. And beyond all that, for us, it was important

[19:49] to have developed a sense of pride throughout the site.

[19:53] and to have a reflection, also, at the level of universal development.

[19:56] We're aiming for a carbon-neutral project, nothing less, within budget,

[20:00] and that's the strategy we've put in place.

[20:02] There were choices we decided to make.

[20:04] We're not far off the mark,

[20:05] but you have to work with the customer to get there,

[20:07] but that's part of the approach we're trying to put in place.

[20:10] And we have to think about a site in terms of that too.

[20:14] We need to think about the site, not just the building, but to have a site

[20:17] where we have intelligent water management,

[20:20] where we have an intelligent plant regeneration strategy,

[20:23] and where we think in terms of universal accessibility

[20:26] and inclusivity for all.

[20:28] All this to create a project that will address, in the future,

[20:32] this facade, this facade to the marina, but also this facade to the park,

[20:36] which will become this kind of link. A preface to a life to come, or a preface to

[20:41] moments that you will have later in this cultural centre.

[20:45] It's a project that creates a link between the City, the boulevard,

[20:49] this place, this park, but also something unique:

[20:53] This riverside landscape is a key element.

[20:56] And, for us,

[20:57] that's what we're proposing. It's to develop a sense

[21:00] of pride for the villagers, for the people who live here,

[21:04] a sense of pride, of belonging

[21:06] and to say that everyone is welcome in this project.

[21:09] And this is achieved through the various mechanisms we are trying to put in place.

[21:13] Just 30 seconds.

[21:15] Not allowed.

[21:17] Questions?

[21:28] Ha ! Ha ! Ha !

[21:29] Ha ! Ha !

[21:41] Thank you very much.

[21:41] It was very well presented,

[21:45] and it answers a lot of questions, in fact,

[21:47] but even at that, I have questions.

[21:50] So, I really appreciate the integration of the building into the landscape.

[21:55] The landscape being the fifteen acres of land and the canopy.

[22:00] I really like the idea of combining building and landscape.

[22:04] You've made a lot of

[22:06] very interesting points.

[22:07] I think you've understood the landscape

[22:11] and you've understood the location.

[22:14] The concern for

[22:16] the user experience on several scales is something that affects us,

[22:20] and you've touched on all the demographics too.

[22:23] It's very interesting.

[22:25] We talked a lot about landscapes and zones for reading

[22:31] and zones for experiences, the experiential

[22:33] in the landscape, and the different types of promenades in all the areas.

[22:38] So it's a unification of the whole lot.

[22:41] There's no sense of separation

[22:44] between the marina lot and the Centennial Park lot. In fact,

[22:47] there's an integration.

[22:49] And I'm not trying to be a positive critic of all this,

[22:53] but I do have some real questions.

[22:54] The building blends into

[22:58] the topography. Which is really interesting.

[23:04] For me, it's

[23:05] in relation to the extensibility of the green roof, because it's an extensive roof

[23:08] where you can stroll.

[23:10] We saw a sketch - is there a promenade? Apart from a promenade

[23:15] what else is planned?

[23:17] As a place for programmes, as a place for contemplation?

[23:20] There was no elaboration on this,

[23:22] but what do you plan to do?

[23:26] But, as we said, at the far end, we plan to have a belvedere

[23:30] with, potentially, areas to sit and just contemplate the landscape.

[23:34] When you're elevated to the height of the canopy,

[23:37] you really have an unobstructed view of Lake Saint-Louis.

[23:41] The walk is accessible to everyone, so it's really a question

[23:46] of getting up to a lookout point and then seeing the landscape from above.

[23:50] It's a very minimalist experience.

[23:52] It's really about arriving at the end and then

[23:56] overlooking the whole site.

[23:59] While you're here.

[24:00] ...(inaudible)...

[24:03] ... vegetal, what do you mean by that?

[24:05] Well, there are areas, particularly near the marina,

[24:09] and there are even areas in the forested sector,

[24:12] where we'd like to bring in different plant strata

[24:16] and, of course, characterize the trees

[24:19] because some may be in poor condition.

[24:21] There are mature trees.

[24:22] So it's really about ensuring the long-term survival of the forest,

[24:26] reforesting certain areas that are less wooded,

[24:29] and trying to extend this to the marina area to ensure

[24:34] biodiversity and a balance throughout the site.

[24:37] So trying to bring in all the layers, the plant strata, to allow that to happen.

[24:42] Thank you.

[24:46] Thank you very much for

[24:47] your presentation. It was really interesting.

[24:50] My first question also relates to the belvedere.

[24:55] I'm a grandfather and I have three little broods. I'd like

[24:59] to know what safety measures they're going to install there,

[25:02] because, obviously, we want to avoid trampling.

[25:06] It's not a playground in itself.

[25:09] So I'd like you to tell us a bit about that, please.

[25:11] That's an excellent question.

[25:12] It's something we've already done in a number of projects.

[25:15] So the idea is to provide access to a new facade.

[25:17] Of course, the promenade is fenced in.

[25:20] So people have no access other than to

[25:22] the fenced-in area. Generally speaking, we even raise

[25:26] the railings slightly above the standards

[25:30] to prevent people from going beyond them.

[25:32] So it gives us an additional, vertical, landscape promenade

[25:36] that leads us on to the belvedere, which gives us a unique view of the lake or the river.

[25:41] We'll never agree on the term.

[25:43] I always say that, the river, but it gives us this view.

[25:46] But it's a secure zone. It's extremely important. Perfect.

[25:49] My second question is mainly about the sanitary facilities.

[25:53] We've noticed, and I'm not the only one, that all the toilets

[25:58] are located in the northern part of the entire building.

[26:02] So the distances involved

[26:04] when you're in the far south can seem pretty far.

[26:07] So, is it possible to separate them or create

[26:12] toilets that are a little more

[26:14] spread out?

[26:19] Absolutely.

[26:20] In fact, there are some toilet areas

[26:22] that are located in the library. So we made sure we had

[26:25] accessible toilets dotted around the library.

[26:29] There are a few on the side...

[26:30] There is one on the preschool side.

[26:32] There are two that are even closer to the sector

[26:35] of the entire collection. Which are two accessible toilets.

[26:38] There would be...

[26:40] We've even made a sanitary block,

[26:41] with a toilet block that's a little further away,

[26:44] it would be easily possible to bring them closer to the hall.

[26:48] An accessible toilet block, even, closer to the hall,

[26:53] without any problems.

[26:54] And, even, in the library, if it's desirable,

[26:56] we have a volume, which is a full volume, where there are the IT

[27:01] and creations sectors, which could also have

[27:05] a sanitary block accessible there. No problem at all.

[27:08] Thank you very much.

[27:15] Yes, thank you. Thank you for a good presentation.

[27:19] I really enjoyed the promenades that were proposed.

[27:24] I think we can imagine, in the future, the installation

[27:27] of various small

[27:30] islands along these promenades.

[27:32] Now... And also,

[27:35] I really appreciated your mention of winter use,

[27:39] because this site is also used in winter.

[27:43] You are proposing an amphitheatre

[27:45] on the north side of the building.

[27:49] Is this amphitheatre

[27:50] included in your estimate?

[27:53] No, it's a proposal. No, but it depends on- Are we talking about the natural amphitheatre?

[27:58] The one in front?

[27:59] Yes, yes, yes.

[28:01] Yes, it's included.

[28:03] So this would be the place

[28:05] where we would put on shows and activities,

[28:08] for example, during Canada Day

[28:13] celebrations?

[28:15] Would this be the place for that?

[28:16] No, actually, that would be really...

[28:18] In fact, the way

[28:19] we thought about it, it was really for small-scale events.

[28:22] So everything that's really juxtaposed to the buildings

[28:26] are little agoras,

[28:27] little places for smaller-scale events.

[28:31] Then, the amphitheatre, really for the event zone,

[28:37] the large-scale temporary stage

[28:38] is actually on the park side.

[28:42] Maybe I can bring the... That's it.

[28:47] In that zone.

[28:48] Exactly.

[28:49] So it would be in the park,

[28:52] along the events trail.

[28:55] OK, that's good. Because, of course, the orientation towards the lake is important.

[29:00] We have moonrises in the early

[29:03] evening on the lake, so it's very appreciated,

[29:06] when there are events, to have these shows at the same time.

[29:09] I also think that the proposed location is an interesting one.

[29:13] If I may, just on that point.

[29:18] If I may, just on that point.

[29:21] There is indeed a larger one here.

[29:24] We have the boreal forecourt with an agora integrated into the building. At the back-

[29:28] What you've seen here at the back or the front, we thought we could

[29:32] integrate a small agora for smaller activities,

[29:35] including screenings. Because we have an area that we thought

[29:37] we could leave clear for outside projections.

[29:40] And then there's the river forecourt, which is relatively large, and the esplanade,

[29:44] which is here, which is connected.

[29:46] So we made sure that we had different activities, different scales

[29:49] to bring the site to life according to the City's needs.

[29:54] I noticed in your

[29:56] documentation that the paths were either concrete or paved.

[30:02] Have you considered other materials, or is it just paved?

[30:07] Actually, no. For the promenades, we've planned

[30:11] them all in stone dust, and the paths

[30:14] and forecourts would be paved to make them more resistant.

[30:18] Parking lot is asphalt,

[30:21] to make it easier for maintenance, snow removal and all that,

[30:25] but with bio-retention.

[30:27] So, the idea is really to go as green as possible.

[30:31] But for the most part, it's really permeable paths

[30:34] where water can percolate. The boat ramp, for example, will be more concrete.

[30:40] But the rest, the paths to get there, would be made of stone dust.

[30:44] And one last question about rainwater management:

[30:50] it goes down to the lake

[30:55] in this way.

[30:56] Can you tell me where it's going to end up?

[31:01] Je vais expliquer, en fait...

[31:06] So, OK, I'm going to take the microphone, otherwise I wouldn't be able to do it.

[31:12]

[31:16]

[31:22] OK, can you hear me?

[31:24] So here we have the landscape wing,

[31:28] which is discharged into a retention zone, which is here.

[31:31] The same applies to the future transformation of the ditch, here,

[31:35] which could drain there.

[31:36] Then, the entire thing goes to the lake.

[31:40] So, on the beach?

[31:44] Actually, no, not on the beach. Next to it?

[31:49] It's under the ground there, actually.

[31:50] There's no... It's not apparent.

[31:55] From the bioretention zone,

[31:57] here, there. ...(inaudible)...

[32:00] Yes, exactly.

[32:04] So, here,

[32:05] we have the dry river, the landscape wing,

[32:09] the bioretention system, which, if there is an overflow, the excess

[32:13] can be channelled into the surface retention zone,

[32:17] which is then channelled into the lake.

[32:24] So it might be something

[32:25] that would be... Yes, everything needs to be worked on.

[32:29] Because, in fact, we don't know the flow rate of the ditch and all that.

[32:32] So there are lots of concepts

[32:33] that we don't have yet: calculations, quantities, all that.

[32:36] So these are things we really need to work on

[32:39] with the City and the civil engineer.

[32:42] The direction of water flow in the lake too.

[32:45] Exactly. ...(inaudible)...

[33:00] But if you'll allow me.

[33:03] Yes.

[33:05] Not close enough.

[33:06] OK. So I'll start by quoting your text.

[33:09] You say: "The new building meets the landscape, allowing

[33:13] recognition of the site and its historical,

[33:16] contextual

[33:18] and symbolic

[33:20] stratification.” So I'd like to hear what you have to say

[33:22] on the question of context and symbolism.

[33:26] You said that the landscape dominates.

[33:29] We understand that your integration strategy

[33:32] is mainly landscape-based.

[33:34] In other words, the building slips beneath the landscape.

[33:37] The fact remains

[33:38] that there are three facades that are architectural in nature,

[33:41] whose language is mainly plastic. After all,

[33:45] the entrances are big gullies.

[33:47] There are no traditional doors.

[33:49] It's a very, very plastic language.

[33:52] So could you tell us how it fits in with

[33:55] Beaconsfield's built heritage?

[33:58] Or perhaps you'll say: "We're not trying to tie in with the

[34:02] built heritage.

[34:04] Our interest, our strategy, is mainly landscape.”

[34:07] Well, the strategy is very landscape-oriented.

[34:11] The answer, the strategy, is based

[34:13] mainly on the human experience, the experience of users

[34:16] when they walk through the park and what they will discover.

[34:19] So, yes, that's it. We're directing people to the entrance.

[34:22] We want to catch them, we want to bring them in, we want to create interaction.

[34:25] When we talked about one of the conditions for success, this is one of them.

[34:27] What I'd like is for teenagers to come in and say: "Ah, there are books here! My goodness!

[34:31] What is a book?"

[34:32] So, that's what

[34:32] we're trying to create.

[34:34] That is how the entrances are created. They are part of a journey.

[34:37] At one point, we drew up a plan in which we removed the entire roof,

[34:41] and then it was a plan that had to be really interesting.

[34:43] It's a bit like a Nolli plan, a plan of a city

[34:45] where you can see the pedestrian routes. What's full and what's empty.

[34:49] Then we had this understanding.

[34:51] The reference, of course, to this historical context,

[34:54] but for us, we referenced it through the materiality,

[34:58] in terms of the wood,

[34:59] we have an exterior wood cladding.

[35:01] It's a subtle nod to the existing house.

[35:04] We didn't want to go

[35:05] for a pastiche of existing buildings, nor did we want to go for references

[35:10] that were too close to the architectural elements.

[35:12] We have a building that is, after all,

[35:13] a pavilion in a park. And that's something we wanted to take on board,

[35:16] this pavilion concept where there's

[35:18] work on the wood, there's work on the envelope.

[35:21] We have a white silk-screened glass, where there are interesting levels of interpretation

[35:24] through an object that is a little plastic, yes,

[35:28] in its shape, but that we also see through a wooded landscape.

[35:33] The view from the park seems unobstructed.

[35:35] In reality, we removed all the trees because

[35:38] we wanted to express the project well, but we don't actually remove them.

[35:42] ...(inaudible)...

[35:44] In real terms, because I can tell you that we

[35:47] moved the building to fit it to the millimetre,

[35:50] but we've made sure that we can read it through all these layers.

[35:54] So, it's this reference to the user experience

[35:56] that comes first, that dominates; where architecture and landscape interact,

[36:01] but for us, landscape was an important element.

[36:04] I have a second question.

[36:09] You named several

[36:11] promenades

[36:17] ...(inaudible)...

[36:22] Oh yes, the rooftop promenade is part of it.

[36:26] Yes, yes, it's integrated.

[36:27] It's part of the Leisure Promenade

[36:29] Then, it's really in the experience, really

[36:32] with the children, with grandma and everything.

[36:35] So it's really like going up to the roof and seeing the belvedere.

[36:38] We'll head back down, then off to explore the other side.

[36:41] So it's really intertwined with the architecture,

[36:44] but it's part of it.

[36:48]

[36:56] questions.

[36:58] Firstly, I'd just like to clarify something

[37:00] about your sanitary block.

[37:02] Are these gender-neutral washrooms?

[37:07] That's a good question.

[37:08] It's something ...(inaudible)... the competition.

[37:10] For me, it's gender-neutral.

[37:11] The big block, it is. It's just our-

[37:13] one position, but it's not something that's necessarily immutable.

[37:15] In competitions, you work as part of a team

[37:18] - a a large team, in fact - and then you fight it out over projects.

[37:20] Other projects we said to ourselves, OK, in such and such a project

[37:23] it was non-gendered, but are we capable of offering some that are gendered, yes.

[37:27] Are we capable of-

[37:28] It's a discussion. It's a discussion we've had in each of our projects,

[37:31] and even more so today.

[37:32] We go to secondary schools, we have the same discussion.

[37:35] We adapt to each community.

[37:37] So, for the moment, they're non-gendered,

[37:40] but there are a bunch of health units scattered around

[37:44] the project where other people could say:

[37:46] "I'd rather go there.”

[37:48] OK, thank you.

[37:49] My second question concerns the youth activity room.

[37:52] So the shape is a little atypical.

[37:54] I'd like you to tell me how you see the programmes

[37:58] and the planning activities in this room?

[38:03] But, in fact, yes, it's a bit, perhaps, atypical

[38:06] as a form;

[38:08] but allows us to work with several sectors

[38:11] with a wide range of activities.

[38:13] We can have the class format

[38:17] with the projection space.

[38:19] You can have a variety of highly flexible reading spaces.

[38:22] We wondered whether, on the wooded side, it was for the teaching room,

[38:27] that was there, and then, on the other side, more informal reading areas.

[38:33] It's a very flexible space.

[38:35] What we found interesting, in fact, what we found interesting for us,

[38:37] was to make a real link with the outside, with the forested area,

[38:41] and to be able to extend this teaching room outside,

[38:46] under the courtyard, to be able to do some reading. In one of the projects,

[38:50] I know that when they go to the library, they do a lot of-

[38:53] they do a lot of reading outside and sometimes set up small tents outside,

[38:57] in the forested area, to do their reading,

[38:59] and that's a bit like the space we imagined.

[39:04] If I could just conclude?

[39:04] Once again, one of the difficult things

[39:06] about the competition, once again, is that you're on your own.

[39:08] We're drawing on our experiences, the experiences of Émilie

[39:10] and her schoolchildren, the experience ... in a library,

[39:14] the experience I've had with mine, your experiences with your older teenager.

[39:16] So that's what we're basing it on, but another condition for the success of a project,

[39:21] and particularly in these cases, is the work

[39:23] that needs to be done with the project team that's to come.

[39:25] And that's essential. Because here we have a lot of hypotheses

[39:28] that have not been presented, and we have 20 minutes, which is very short.

[39:32] So, to present all this work to you. But a lot of things have been thought through.

[39:35] When you're walking around in 3D, and the view is in such and such a place, such and such an alcove, ah you could close it off there,

[39:39] you could hold such and such an activity there.

[39:41] These things need to be shared and exchanged,

[39:45] and there are always moments during a project when

[39:48] the client's understanding

[39:52] adjusts to ours and we adjust to theirs.

[39:55] And that's when we reach a point of balance.

[39:58] And then we enter into the full development of the project.

[40:01] And that's the greatest criterion for success.

[40:04] One of the biggest criteria.

[40:05] Because we underestimate

[40:06] the amount of work that goes into

[40:08] this type of project: the adjustments, the signage, the finesse.

[40:12] A cultural project is a fine-tuned project

[40:15] because we have to think about all the users.

[40:17] You talked about the younger ones, it's true, about holding multiple activities.

[40:21] You can't just have one big hall. You have need to have multiple activities

[40:23] taking place simultaneously as part of a project.

[40:36] Thank you very much for the presentation!

[40:39] It's much appreciated.

[40:41] The first sketch when the machine has jammed

[40:46] and you had the sketch for a long time.

[40:50] The first sketch, apparently,

[40:51] is what you see from Beaconsfield Boulevard, right?

[40:56] Then, on your first idea.

[41:00] Can you explain a little more about

[41:02] what you imagine we'll see

[41:05] if we don't go there, but continue on Beaconsfield?

[41:08] What are we going to see of the building?

[41:10] And what's your idea

[41:13] of this image of the building from the Boulevard?

[41:15] This is the sketch with a little more definition.

[41:17] ...(inaudible)...

[41:19] Yes, that was at the beginning, but there was an initial sketch,

[41:23] the one that appeared, where you thought to yourselves "but he draws very badly,” and rightly so,

[41:27] but the second one, the one you saw on the front page,

[41:30] Yes, it's a little further on.

[41:31] Things become clearer in our heads.

[41:34] We went out earlier.

[41:35] I was sitting behind you, you were driving.

[41:37] And, I was looking.

[41:37] And then I saw: full, full, full, full... Oh! the river.

[41:41] Ah, I can see the river. A sort of sequence appeared.

[41:44] Then I couldn't wait to get to the site to say:

[41:48] That's it.

[41:51] This body of water in front of me, I have access to it.

[41:55] This is a crucial element.

[41:57] This perception, this openness to the shore. Because this waterfront landscape is part

[42:00] of Beaconsfield's identity, this riverside landscape.

[42:04] We deliberately slimmed down the Beaconsfield project, thinking

[42:10] that the place would be well known, that people would be familiar with it.

[42:12] It's a place of community. People don't have

[42:14] to say: "Hey, it's here! it's here!" No,

[42:17] the place will be known, giving the landscape its due.

[42:20] Giving this riverside landscape its due.

[42:23] So that's why the project is ...(inaudible)... the people on the boulevard

[42:27] all the way to shore.

[42:29] And that's the spirit in which the project was conceived.

[42:31] This is the sketch, the second sketch, which is perhaps sketch number 33 from the same sketch

[42:36] to the end. At some point it would be interesting to share them.

[42:41] It reinforces the image: how can we go bigger?

[42:45] And then, even at the beginning,

[42:47] in the first volumetrics, we lowered the project,

[42:49] we worked to reduce the scale of the project.

[42:51] We thought it was too big, so we worked to say, "no, we need

[42:54] to scale it down.”

[42:55] We need a scale that is similar to the residential scale.

[42:59] You mentioned earlier, Manon, the links with the context, but

[43:02] we didn't want a building that exceeded the height of the neighbours.

[43:05] So we've reduced the scale as much as possible,

[43:09] to the max, so that we can see

[43:11] this river through this absolutely magnificent forest

[43:15] and these immense trees at the end.

[43:20] You raised your hand. Emily had a question.

[43:30] ...(inaudible)...

[43:32] I'm going to have the last word.

[43:35] It works. OK, yes.

[43:36] In fact, I don't even have a question.

[43:43] But, in fact, no, but-

[43:45] I think it's worth saying,

[43:48] I thought you

[43:50] handled

[43:52] the whole speech very elegantly.

[43:57] Thank you, yes.

[44:14] Thank you.

2024-07-02 - Un paysage réinventé

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