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Hello everyone. Allow me to introduce myself:
Amélie Turgeon, architect at Lemay.

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I am here today with Éric Pelletier, architect
and Senior Design Partner

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at Lemay, and Patricia Lussier, landscape architect

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and Senior Design Director, also a partner
at Lemay.

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We have with us, seated, Claude Décarie, who
is an electro-mechanical engineer,

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and, at the end, the Vice-President of Strategic
Projects at BPA.

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Then we have Jake Estoc, who is a structural
engineer

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and a partner at Élément, and we have Sergio
Callocchia,

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Senior Director of the Altus Group.

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So thank you very much for giving us the opportunity
to work

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on this magnificent project. I will now give
the floor to Éric.

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Just before I comment, I know that it's late
for you all,

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so we're going to do our best to keep you interested
until the end.

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And Amélie has a bag full of cookies and other
things to nibble on for everyone.

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Snacks.

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A buffet.

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Yes, it's true, we're going to be a little
undisciplined.

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I can't touch it. Plus, you told me.

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Sorry about that.

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Good evening everyone. We're really pleased
to be here

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with you this evening to present our proposal.
Our proposal for-

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So, I'm really happy.

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And we're all really pleased to be here today
to present our proposal,

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which we've called a reinvented landscape.

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You'll see, it's a project we've thought through
with all our soul

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and all our hearts.

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You know, designing a cultural centre, or a
library,

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or an exhibition hall is not

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a simple thing. It's not something you can
do in a rush.

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These are extremely complicated projects to
develop.

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Why? Because there are many things to think
about.

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And there are many conditions for the success
of this type of project.

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The conditions for the success of these types
of projects

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must first and foremost take one thing into
account: the users.

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Because these are public buildings. And these
are the most public buildings

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that we, as architects, have the chance to
work on.

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And that's a big responsibility for us.

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So, to achieve this, we need to understand
our users.

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The users are young people, and less young
people. Those who can't read,

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the elderly, families, mothers,

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fathers,

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teenagers who are a little older. Those teenagers,
who we want to interact with.

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We need to understand the users, which is essential
for us,

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but we also need to understand the site.

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And that's one of the first conditions for
success: understanding the site.

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Building a library or cultural centre in a
town like

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Beaconsfield is not the same as building one
in Montreal or Quebec City.

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We need to address the site.

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And, here, we are truly in the presence of
an exceptional site.

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A unique site.

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Yes, there is Centennial Park, which is absolutely
magnificent.

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We went to relax there earlier, just before
the presentation,

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to watch the sunset, just to get rid of the
last bit of stress that we had.

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So, it's an exceptional site, and it's important
to understand that.

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It's also a

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site that needs to be redeveloped along with
the marina.

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It's a site

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that the population needs to reclaim. And we
saw it as a great opportunity,

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an opportunity to create something, something
meaningful.

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Our project has become a link.

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A link between these two moments, between Centennial
Park

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and the marina site. And that link is important
for us.

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It's the one that will mark the transition
to a new era,

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not only for the cultural centre, but also
for the community of Beaconsfield.

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This reflection on the site,

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we need to understand it. And what struck us
and still strikes us,

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and what strikes us every time we come to the
site,

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are these magnificent trees, this view, these
openings towards the river,

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this look and the presence of vegetation throughout
the sector.

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And that, for us, was something important.

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It's something we had to preserve, because
that's also what makes a site unique.

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That's what will make this project

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singular, that it will address this site only.

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And that is the greatest condition for success,

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one of the greatest, in any case. Addressing
a project to its site.

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And our first thoughts, inevitably,

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began with one thing: the landscape.

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Because we had to forget ourselves, as architects,

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and leave all the space to the landscape, which
was absolutely grandiose.

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So the landscape experience

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of the Centennial Park site and the marina
has been transformed;

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we've reinvented the landscape to rediscover
this site.

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So, as you can see, the building, as Éric
mentioned,

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is embedded

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a little on the boundary of the two lots, so
there's

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a desire to unify the whole site.

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So the forested area, the mature trees, the
mature forest,

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which is, like, protected and even enhanced
by plant strata

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to ensure the long-term survival of the park
forest,

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and the marina area, which is also being regreened

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and enhanced with biodiversity, that will be
integrated,

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to add to the appropriation of the site.

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We've connected with the neighbourhoods, we've

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opened up the views towards

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the Lake Saint-Louis, and now we're allowing
a certain reconnection

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with the site, which allows a reconnection
with the whole.

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So, to ensure a user experience, as Éric mentioned,
for the users,

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how do we go about multiplying the moments,
the moments of appropriation

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and making sure that we come to manage the
programming,

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the functionality of the site?

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We created routes through the site to connect
with active mobility,

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to connect with the woodland, the marina,

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the new cultural centre building and Lake Saint-Louis.

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So, the first route is the Civic Promenade,

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which connects with the civic hub at City Hall,

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where we are at this moment, which crosses
the site

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and connects with the main hall of the cultural
centre, to cross it

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and to lead to the marina, offering unique
occasions

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for the community to come together

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for either small-scale theatrical experiences,

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film screenings and small community get-togethers.

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We also have the Cultural Promenade, which
has been added,

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which is the main pedestrian-cyclist route
to the main entrance

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of the cultural centre and also creates, like,
an opportunity

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to create a promenade integrating works of
art,

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historical interpretations of the different
strata

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of the site's evolution, and even, potentially,

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to install artefacts from the demolition

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of the Centennial Building, which is about
to be demolished, with furniture that is accessible
to all

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and modular, and with the potential to integrate

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outdoor reading areas in connection with the
library.

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The Cultural Promenade criss-crosses throughout
the entire site.

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Then, there's the Recreational Promenade,

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which is the most family-friendly, if you like,
because

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it joins

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a promenade on the roof of the building, reaches
a belvedere overlooking

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the entire space, and descends to allow

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the appropriation of the transformation of
the ditch into a dry river,

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water management, rainwater management, and
also where we have the play areas

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that relate to the interior programming of
the library.

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Then, there's the Marina Promenade, which connects

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with the parking lot and the landscaped ditches;

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it also connects to the new harbour office

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and the new Boardwalk Promenade, which is located
at the edge

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of the protected area where we have the marina's
secure docks,

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and also an access to small boats near the
beach, right next door.

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The Nautical Promenade will allow

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yachtsmen to launch their boats and

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pass through the harbour office, and the Events
Promenade

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will define a larger-scale events zone,

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where temporary equipment can be installed,

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and it will also leave room

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for freestyle activities in the grassy area.

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Then, there's the Ice Promenade, which reflects

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the site's four-season potential

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with an ice walkway and winter events

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of all kinds.

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So, as you can see, the landscape is very important
to us,

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and this reflection took place on several levels,

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and slowly the first sketches began to appear.

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It's one of the first.

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Well, it must not mean anything to you, that's
normal,

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but, in this sketch, there are plenty of emotions.

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It's the first emotion,

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the first feeling of a place.

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It's the one that tells us where we want to
go.

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And that's where ideas start to emerge.

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And that's where the thinking begins.

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On reflection and on what we have to do, too,

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as architects, because we have to insert a
building.

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The project's success will be one where architecture
and landscape

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come together.

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And, here, we're talking about the conditions
for the success of the project,

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and what is very specific, here,

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is the right gesture. With a well-calibrated
gesture in terms of architecture,

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or a gesture where the landscape will dominate.

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Because what we really want is to preserve
this landscape,

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to retain its uniqueness.

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And the solution, we found it, is simply to
lift

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the landscape and slide

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the centre underneath, through these landscape
strata.

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This allows us to have a

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project that blurs the boundaries between architecture
and landscape.

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Ce n'est plus un projet d'architecture, c'est
un projet de paysage.

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Ce n'est pas un projet de paysage, c'est un
projet d'architecture.

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The two are intertwined.

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That's what we wanted because that's what we
find interesting about this site.

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That's what we think is relevant.

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But a large building that is only on one level,
because that's another

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challenge we've taken on, keeping a single
storey, is big.

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And to reduce the scale of the building, we
decided to break it up a bit.

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This allowed us to take one of the wings and
fit it into the park.

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And then, we create an interface that's a little
bigger,

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with interactions that are a little more important.

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And another condition for success is to create
interactions.

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Create interactions

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with users, but also with strollers.

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

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will be able to walk through the building,
whether they need to go there or not.”

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And that's where we create interactions; impromptu
visits.

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This allows us to have

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a building that offers a marina-side facade.

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The building has all the facades, but no rear
facade.

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The marina-side facade features one of the
entrances inserted between the two volumes.

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The facade on the park side is also a main
facade, which also has

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a central entrance that visitors are invited
to enter through.

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So, we have a building that is permeable, a
building that is open and accessible

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to all.

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This space, central for us, is the hall.

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It is the heart of the project.

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It's the space through which we'll be able
to cross. It's also the space

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in which we'll be able to access all the project's
functions,

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but, above all, it's the space where we'll
find the reception area.

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And that, too, is important.

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Finding one's way around a project, whatever
its size,

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is one of the criteria for accessibility,

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but it's also a criterion for the appropriation
of the space.

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But we felt it wasn't enough.

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We decided to refract the building,

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and what this allowed us to do was open up
views.

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From the heart of the entrance hall, you have
a 360-degree view.

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of the site. There's a view of the Beaconsfield
Boulevard,

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a view of the marina and the river, a view
of the park, and a view

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of the marina plateau, as well.

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So, you can see everywhere. And you can find
your way around the entire project.

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That's what allowed us to have

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a building where the layout simply divided.

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The lower part contains the library.

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It is projected into the wooded area, it is
projected towards the marina.

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We see both.

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We're in touch with the site.

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The upper part is used for administrative activities

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and some meeting rooms.

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And the other part, the last wing, is the wing
that is reserved

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for animation.

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So there are four sectors involved in bringing
the hall to life.

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The first, the bistro, is near the main entrance,

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close to the parking lot, so it's accessible
at all times,

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even when the library is closed.

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The second element

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that adds to the liveliness of the hall is
the chute, the outdoor book chute,

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which is located near the main entrance, so
it is accessible 24 hours a day.

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It is by the loan counter.

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We could even add a door

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to provide a more direct link to the

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multi-service counter.

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00:12:44,000 --> 00:12:47,000
The third element is the multi-purpose room,
which is a closed room,

238
00:12:47,000 --> 00:12:49,000
but with windows overlooking the hall.

239
00:12:49,000 --> 00:12:53,000
We could imagine it opening onto the hall for
larger events.

240
00:12:54,000 --> 00:12:58,000
And one of the most important elements is the
multi-service counter.

241
00:12:58,000 --> 00:13:01,000
So this one is on the library side.

242
00:13:01,000 --> 00:13:03,000
It faces the main entrance.

243
00:13:03,000 --> 00:13:06,000
It's close to the animation sector.

244
00:13:08,000 --> 00:13:10,000
All these elements are interchangeable.

245
00:13:10,000 --> 00:13:13,000
Our proposal today is based on our perception

246
00:13:13,000 --> 00:13:15,000
of your needs.

247
00:13:15,000 --> 00:13:18,000
It's a solution that makes it possible to have
a reception desk

248
00:13:18,000 --> 00:13:22,000
with people who work there, who can inform,
help

249
00:13:22,000 --> 00:13:25,000
and have a good view of the whole cultural
centre.

250
00:13:26,000 --> 00:13:29,000
If we look at the library side, the first sector,
the preschool sector,

251
00:13:29,000 --> 00:13:33,000
which is right next to the multiservice counter,
which is adjacent

252
00:13:33,000 --> 00:13:38,000
to the children's collection sector with its
play corner.

253
00:13:39,000 --> 00:13:42,000
And on the forested side, we have the animation
room area,

254
00:13:43,000 --> 00:13:48,000
which is connected to the outdoors, so outdoor
reading spaces.

255
00:13:48,000 --> 00:13:51,000
We could even imagine school groups

256
00:13:51,000 --> 00:13:54,000
that have been taught under the courtyard.

257
00:13:54,000 --> 00:13:57,000
It's linked to the fun trail that Patricia
explained to us.

258
00:13:57,000 --> 00:14:01,000
I'd even go so far as to say that my children,
who are there,

259
00:14:02,000 --> 00:14:05,000
are already very fond of the cultural centre,

260
00:14:05,000 --> 00:14:08,000
and my daughter would to say to me: "When can
we go there?"

261
00:14:08,000 --> 00:14:11,000
So, I'm hoping one day.

262
00:14:11,000 --> 00:14:16,000
Then there's the teen collection, with the
computer room

263
00:14:16,000 --> 00:14:19,000
and the creative room. At the junction of this
sector

264
00:14:19,000 --> 00:14:22,000
with the youth sector, we could find a satellite
counter.

265
00:14:22,000 --> 00:14:26,000
Otherwise, at the far end, we have the adult
collection,

266
00:14:26,000 --> 00:14:29,000
dotted with lots of small, more intimate reading
areas,

267
00:14:29,000 --> 00:14:32,000
all with beautiful views of the outside, and,
at the far end,

268
00:14:32,000 --> 00:14:36,000
the large reading room, which is a quiet, contemplative,

269
00:14:36,000 --> 00:14:39,000
very warm room that really benefits from a
diversity of landscapes.

270
00:14:40,000 --> 00:14:43,000
So, both the forested side and the maritime
side.

271
00:14:43,000 --> 00:14:48,000
If we go back to the administrative sector
with the outdoor book chute,

272
00:14:48,000 --> 00:14:51,000
with the administrative sector, which is very
versatile, flexible,

273
00:14:51,000 --> 00:14:54,000
able to adapt over time. At the far end, we
have the support areas

274
00:14:54,000 --> 00:14:59,000
with the staff rest room overlooking a small
indoor garden,

275
00:14:59,000 --> 00:15:02,000
and if you go back to the hall, you'll find
the meeting rooms,

276
00:15:02,000 --> 00:15:06,000
which are accessible from the foyer, which
are visible from the hall,

277
00:15:06,000 --> 00:15:09,000
and which are even accessible for the administration
sector.

278
00:15:09,000 --> 00:15:11,000
And it's in this sector that we could even
imagine

279
00:15:11,000 --> 00:15:14,000
another satellite counter for the animation
sector.

280
00:15:15,000 --> 00:15:19,000
So, on the entertainment side, at the far end,
we have room 2-A, which benefits from

281
00:15:19,000 --> 00:15:23,000
beautiful northern light, ideal for art. Otherwise,
there's the sanitary block, changing rooms

282
00:15:23,000 --> 00:15:28,000
and finally the multipurpose room, which can
open onto the foyer.

283
00:15:28,000 --> 00:15:32,000
So the large central circulation area can open
onto the hall and

284
00:15:32,000 --> 00:15:35,000
also onto the boreal forecourt, which is on
the forested side.

285
00:15:38,000 --> 00:15:40,000
The boreal forecourt

286
00:15:40,000 --> 00:15:44,000
is truly immersive. It has lots of greenery,
and it is on the forested side.

287
00:15:44,000 --> 00:15:49,000
We're entering a truly lush, green space, full
of biodiversity.

288
00:15:49,000 --> 00:15:55,000
We can also see the transformation of the ditch
into a dry river,

289
00:15:55,000 --> 00:15:57,000
a surface water management element, a sponge
park

290
00:15:57,000 --> 00:16:00,000
that provides a very special entrance in connection

291
00:16:00,000 --> 00:16:03,000
with everything that happens in the mature
forest.

292
00:16:04,000 --> 00:16:08,000
And we can see it here, precisely, the space
that runs alongside the building.

293
00:16:08,000 --> 00:16:12,000
You can see the boreal forecourt, which is
linked to the multipurpose hall,

294
00:16:12,000 --> 00:16:16,000
allowing cafés and small events to be held
on the forested side.

295
00:16:17,000 --> 00:16:20,000
Then there's the facade along the Beaconsfield
Boulevard,

296
00:16:22,000 --> 00:16:24,000
where there's the potential for a natural amphitheatre

297
00:16:24,000 --> 00:16:27,000
that can be used to project onto the blind
wall there,

298
00:16:27,000 --> 00:16:32,000
gatherings that could take place facing that
very street,

299
00:16:32,000 --> 00:16:36,000
in connection with the neighbourhoods, and
the roof that allows

300
00:16:36,000 --> 00:16:41,000
universal accessibility, that allows the juxtaposition
of architecture

301
00:16:41,000 --> 00:16:43,000
and landscape with slopes that respect the
code,

302
00:16:43,000 --> 00:16:47,000
universal accessibility, the standards to give
everyone access

303
00:16:47,000 --> 00:16:51,000
to this experience of landscape and architecture.

304
00:16:52,000 --> 00:16:55,000
The waterfront forecourt, which is on

305
00:16:55,000 --> 00:16:58,000
the marina side, is more urban, linked to the
parking lot.

306
00:16:58,000 --> 00:17:01,020
The main entrance to the cultural centre

307
00:17:02,020 --> 00:17:07,020
has been fitted out with furniture, and potentially
also,

308
00:17:07,020 --> 00:17:11,020
as Amélie mentioned, a terrace-bistro area
linked to the bistro.

309
00:17:12,020 --> 00:17:17,020
And, as Éric mentioned, this opening, which
really slides into

310
00:17:17,020 --> 00:17:19,020
the cultural centre, can be extended

311
00:17:19,020 --> 00:17:23,020
into the parking lot to host winter markets,
summer markets

312
00:17:23,020 --> 00:17:26,020
and various events, fairs, of all kinds.

313
00:17:28,020 --> 00:17:30,020
As you can see, as you can really see,

314
00:17:30,020 --> 00:17:31,020
our project, the way

315
00:17:31,020 --> 00:17:33,020
we've developed it, is really a project where
architecture

316
00:17:33,020 --> 00:17:36,020
and landscape are always in dialogue, no matter
where you find yourself.

317
00:17:36,020 --> 00:17:37,020
And, for us, that was important.

318
00:17:37,020 --> 00:17:40,020
This dialogue between architecture and landscape

319
00:17:40,020 --> 00:17:43,020
will take place in an improvised public space

320
00:17:44,020 --> 00:17:45,020
that will be used.

321
00:17:45,020 --> 00:17:49,020
It also takes place inside, where you find
yourself totally immersed,

322
00:17:49,020 --> 00:17:51,020
no matter where you are.

323
00:17:51,020 --> 00:17:53,020
The widths of the building were carefully calibrated

324
00:17:53,020 --> 00:17:56,020
to ensure that when people went inside, they
could have access

325
00:17:56,020 --> 00:17:59,020
to this view, to this unique view.

326
00:17:59,020 --> 00:18:00,080
And for us, that was important.

327
00:18:00,080 --> 00:18:01,080
But it was also important

328
00:18:01,080 --> 00:18:05,080
that the atmosphere be relaxed. That's another
condition for the success of a project.

329
00:18:05,080 --> 00:18:09,080
The comfort of users when they are inside is
essential.

330
00:18:09,080 --> 00:18:10,080
We need to feel good, we need to find ourselves.

331
00:18:10,080 --> 00:18:14,080
There is a film-maker, Wim Wenders, who said
that places are

332
00:18:14,080 --> 00:18:18,080
magical places, magical places to find yourself
and get lost in.

333
00:18:18,080 --> 00:18:19,080
And that's more or less what we want to do.

334
00:18:19,080 --> 00:18:22,080
It's getting lost in a book, it's getting lost
in contemplating

335
00:18:22,080 --> 00:18:25,080
an arriving sailboat or in watching the children
play in the park.

336
00:18:26,080 --> 00:18:29,080
And, to do that, the whole project has to be
calibrated.

337
00:18:29,080 --> 00:18:30,080
We decided to reduce the scale of the project.

338
00:18:30,080 --> 00:18:32,080
We didn't want to have a monumental project.

339
00:18:32,080 --> 00:18:35,080
We want a project on the scale of a pavilion
in a park.

340
00:18:35,080 --> 00:18:39,080
And one of the first things we did was to take
the wing of the library

341
00:18:39,080 --> 00:18:42,080
and reduce its volume, and gently follow the
slope.

342
00:18:43,080 --> 00:18:46,080
The second was to take the administrative part

343
00:18:46,080 --> 00:18:48,080
and extend it, and connect it to the landscape.

344
00:18:48,080 --> 00:18:51,080
And that's what gave us the opportunity to
mix

345
00:18:51,080 --> 00:18:56,080
the landscape, which embeds on the roof of
the building, and to create,

346
00:18:56,080 --> 00:18:59,080
and once again, to blur that boundary between
architecture and landscape.

347
00:19:00,040 --> 00:19:03,040
The structure of the building is made entirely
out of wood.

348
00:19:04,040 --> 00:19:06,040
For us, it was important to have an all-wood
building.

349
00:19:06,040 --> 00:19:08,040
We are in an exceptional forest.

350
00:19:08,040 --> 00:19:11,040
We couldn't imagine doing this project with
steel or concrete.

351
00:19:11,040 --> 00:19:13,040
So we set ourselves this constraint.

352
00:19:13,040 --> 00:19:17,040
The walls are made of CLT, so they are load-bearing
walls.

353
00:19:17,040 --> 00:19:17,040
The ceil-

354
00:19:19,040 --> 00:19:19,040
Excuse me.

355
00:19:19,040 --> 00:19:22,040
The ceiling is CLT, so it's really, it's expressed.

356
00:19:22,040 --> 00:19:25,040
This structure, it is expressed, it is present,

357
00:19:25,040 --> 00:19:27,040
it contributes to the warm effect that we want
to create.

358
00:19:27,040 --> 00:19:32,040
And the tectonics of the project require no
intervention

359
00:19:32,040 --> 00:19:34,040
other than leaving the materials as they are.

360
00:19:34,040 --> 00:19:37,040
Because the real star of the place isn't the
architecture,

361
00:19:37,040 --> 00:19:39,040
it's the landscape.

362
00:19:39,040 --> 00:19:42,040
And that's what we wanted to do.

363
00:19:42,040 --> 00:19:45,040
1 minute 30

364
00:19:45,040 --> 00:19:49,040
Yes. And beyond all that, for us, it was important

365
00:19:49,040 --> 00:19:53,040
to have developed a sense of pride throughout
the site.

366
00:19:53,040 --> 00:19:56,040
and to have a reflection, also, at the level
of universal development.

367
00:19:56,040 --> 00:19:59,040
We're aiming for a carbon-neutral project,
nothing less, within budget,

368
00:20:00,000 --> 00:20:02,000
and that's the strategy we've put in place.

369
00:20:02,000 --> 00:20:04,000
There were choices we decided to make.

370
00:20:04,000 --> 00:20:05,000
We're not far off the mark,

371
00:20:05,000 --> 00:20:07,000
but you have to work with the customer to get
there,

372
00:20:07,000 --> 00:20:10,000
but that's part of the approach we're trying
to put in place.

373
00:20:10,000 --> 00:20:14,000
And we have to think about a site in terms
of that too.

374
00:20:14,000 --> 00:20:17,000
We need to think about the site, not just the
building, but to have a site

375
00:20:17,000 --> 00:20:20,000
where we have intelligent water management,

376
00:20:20,000 --> 00:20:23,000
where we have an intelligent plant regeneration
strategy,

377
00:20:23,000 --> 00:20:26,000
and where we think in terms of universal accessibility

378
00:20:26,000 --> 00:20:28,000
and inclusivity for all.

379
00:20:28,000 --> 00:20:32,000
All this to create a project that will address,
in the future,

380
00:20:32,000 --> 00:20:36,000
this facade, this facade to the marina, but
also this facade to the park,

381
00:20:36,000 --> 00:20:41,000
which will become this kind of link. A preface
to a life to come, or a preface to

382
00:20:41,000 --> 00:20:44,000
moments that you will have later in this cultural
centre.

383
00:20:45,000 --> 00:20:48,000
It's a project that creates a link between
the City, the boulevard,

384
00:20:49,000 --> 00:20:52,000
this place, this park, but also something unique:

385
00:20:53,000 --> 00:20:55,000
This riverside landscape is a key element.

386
00:20:56,000 --> 00:20:57,000
And, for us,

387
00:20:57,000 --> 00:21:00,060
that's what we're proposing. It's to develop
a sense

388
00:21:00,060 --> 00:21:03,060
of pride for the villagers, for the people
who live here,

389
00:21:04,060 --> 00:21:06,060
a sense of pride, of belonging

390
00:21:06,060 --> 00:21:09,060
and to say that everyone is welcome in this
project.

391
00:21:09,060 --> 00:21:12,060
And this is achieved through the various mechanisms
we are trying to put in place.

392
00:21:13,060 --> 00:21:15,060
Just 30 seconds.

393
00:21:15,060 --> 00:21:17,060
Not allowed.

394
00:21:17,060 --> 00:21:20,060
Questions?

395
00:21:28,060 --> 00:21:29,060
Ha ! Ha ! Ha !

396
00:21:29,060 --> 00:21:32,060
Ha ! Ha !

397
00:21:41,060 --> 00:21:41,060
Thank you very much.

398
00:21:41,060 --> 00:21:44,060
It was very well presented,

399
00:21:45,060 --> 00:21:47,060
and it answers a lot of questions, in fact,

400
00:21:47,060 --> 00:21:50,060
but even at that, I have questions.

401
00:21:50,060 --> 00:21:55,060
So, I really appreciate the integration of
the building into the landscape.

402
00:21:55,060 --> 00:21:59,060
The landscape being the fifteen acres of land
and the canopy.

403
00:22:00,020 --> 00:22:03,020
I really like the idea of combining building
and landscape.

404
00:22:04,020 --> 00:22:06,020
You've made a lot of

405
00:22:06,020 --> 00:22:07,020
very interesting points.

406
00:22:07,020 --> 00:22:11,020
I think you've understood the landscape

407
00:22:11,020 --> 00:22:12,020
and you've understood the location.

408
00:22:14,020 --> 00:22:16,020
The concern for

409
00:22:16,020 --> 00:22:20,020
the user experience on several scales is something
that affects us,

410
00:22:20,020 --> 00:22:23,020
and you've touched on all the demographics
too.

411
00:22:23,020 --> 00:22:25,020
It's very interesting.

412
00:22:25,020 --> 00:22:30,020
We talked a lot about landscapes and zones
for reading

413
00:22:31,020 --> 00:22:33,020
and zones for experiences, the experiential

414
00:22:33,020 --> 00:22:38,020
in the landscape, and the different types of
promenades in all the areas.

415
00:22:38,020 --> 00:22:41,020
So it's a unification of the whole lot.

416
00:22:41,020 --> 00:22:44,020
There's no sense of separation

417
00:22:44,020 --> 00:22:47,020
between the marina lot and the Centennial Park
lot. In fact,

418
00:22:47,020 --> 00:22:49,020
there's an integration.

419
00:22:49,020 --> 00:22:53,020
And I'm not trying to be a positive critic
of all this,

420
00:22:53,020 --> 00:22:54,020
but I do have some real questions.

421
00:22:54,020 --> 00:22:58,020
The building blends into

422
00:22:58,020 --> 00:23:03,080
the topography. Which is really interesting.

423
00:23:04,080 --> 00:23:05,080
For me, it's

424
00:23:05,080 --> 00:23:08,080
in relation to the extensibility of the green
roof, because it's an extensive roof

425
00:23:08,080 --> 00:23:10,080
where you can stroll.

426
00:23:10,080 --> 00:23:15,080
We saw a sketch - is there a promenade?  Apart
from a promenade

427
00:23:15,080 --> 00:23:17,080
what else is planned?

428
00:23:17,080 --> 00:23:20,080
As a place for programmes, as a place for contemplation?

429
00:23:20,080 --> 00:23:22,080
There was no elaboration on this,

430
00:23:22,080 --> 00:23:25,080
but what do you plan to do?

431
00:23:26,080 --> 00:23:30,080
But, as we said, at the far end, we plan to
have a belvedere

432
00:23:30,080 --> 00:23:33,080
with, potentially, areas to sit and just contemplate
the landscape.

433
00:23:34,080 --> 00:23:37,080
When you're elevated to the height of the canopy,

434
00:23:37,080 --> 00:23:40,080
you really have an unobstructed view of Lake
Saint-Louis.

435
00:23:41,080 --> 00:23:46,080
The walk is accessible to everyone, so it's
really a question

436
00:23:46,080 --> 00:23:50,080
of getting up to a lookout point and then seeing
the landscape from above.

437
00:23:50,080 --> 00:23:52,080
It's a very minimalist experience.

438
00:23:52,080 --> 00:23:56,080
It's really about arriving at the end and then

439
00:23:56,080 --> 00:23:59,080
overlooking the whole site.

440
00:23:59,080 --> 00:23:59,080
While you're here.

441
00:24:00,040 --> 00:24:03,040
...(inaudible)...

442
00:24:03,040 --> 00:24:05,040
... vegetal, what do you mean by that?

443
00:24:05,040 --> 00:24:09,040
Well, there are areas, particularly near the
marina,

444
00:24:09,040 --> 00:24:12,040
and there are even areas in the forested sector,

445
00:24:12,040 --> 00:24:16,040
where we'd like to bring in different plant
strata

446
00:24:16,040 --> 00:24:19,040
and, of course, characterize the trees

447
00:24:19,040 --> 00:24:21,040
because some may be in poor condition.

448
00:24:21,040 --> 00:24:22,040
There are mature trees.

449
00:24:22,040 --> 00:24:25,040
So it's really about ensuring the long-term
survival of the forest,

450
00:24:26,040 --> 00:24:29,040
reforesting certain areas that are less wooded,

451
00:24:29,040 --> 00:24:33,040
and trying to extend this to the marina area
to ensure

452
00:24:34,040 --> 00:24:37,040
biodiversity and a balance throughout the site.

453
00:24:37,040 --> 00:24:41,040
So trying to bring in all the layers, the plant
strata, to allow that to happen.

454
00:24:42,040 --> 00:24:42,040
Thank you.

455
00:24:46,040 --> 00:24:47,040
Thank you very much for

456
00:24:47,040 --> 00:24:50,040
your presentation. It was really interesting.

457
00:24:50,040 --> 00:24:54,040
My first question also relates to the belvedere.

458
00:24:55,040 --> 00:24:59,040
I'm a grandfather and I have three little broods.
I'd like

459
00:24:59,040 --> 00:25:02,000
to know what safety measures they're going
to install there,

460
00:25:02,000 --> 00:25:06,000
because, obviously, we want to avoid trampling.

461
00:25:06,000 --> 00:25:09,000
It's not a playground in itself.

462
00:25:09,000 --> 00:25:11,000
So I'd like you to tell us a bit about that,
please.

463
00:25:11,000 --> 00:25:12,000
That's an excellent question.

464
00:25:12,000 --> 00:25:15,000
It's something we've already done in a number
of projects.

465
00:25:15,000 --> 00:25:17,000
So the idea is to provide access to a new facade.

466
00:25:17,000 --> 00:25:20,000
Of course, the promenade is fenced in.

467
00:25:20,000 --> 00:25:22,000
So people have no access other than to

468
00:25:22,000 --> 00:25:25,000
the fenced-in area. Generally speaking, we
even raise

469
00:25:26,000 --> 00:25:29,000
the railings slightly above the standards

470
00:25:30,000 --> 00:25:32,000
to prevent people from going beyond them.

471
00:25:32,000 --> 00:25:36,000
So it gives us an additional, vertical, landscape
promenade

472
00:25:36,000 --> 00:25:41,000
that leads us on to the belvedere, which gives
us a unique view of the lake or the river.

473
00:25:41,000 --> 00:25:43,000
We'll never agree on the term.

474
00:25:43,000 --> 00:25:46,000
I always say that, the river, but it gives
us this view.

475
00:25:46,000 --> 00:25:49,000
But it's a secure zone. It's extremely important.
Perfect.

476
00:25:49,000 --> 00:25:53,000
My second question is mainly about the sanitary
facilities.

477
00:25:53,000 --> 00:25:58,000
We've noticed, and I'm not the only one, that
all the toilets

478
00:25:58,000 --> 00:26:01,060
are located in the northern part of the entire
building.

479
00:26:02,060 --> 00:26:04,060
So the distances involved

480
00:26:04,060 --> 00:26:07,060
when you're in the far south can seem pretty
far.

481
00:26:07,060 --> 00:26:11,060
So, is it possible to separate them or create

482
00:26:12,060 --> 00:26:14,060
toilets that are a little more

483
00:26:14,060 --> 00:26:17,060
spread out?

484
00:26:19,060 --> 00:26:20,060
Absolutely.

485
00:26:20,060 --> 00:26:22,060
In fact, there are some toilet areas

486
00:26:22,060 --> 00:26:25,060
that are located in the library. So we made
sure we had

487
00:26:25,060 --> 00:26:29,060
accessible toilets dotted around the library.

488
00:26:29,060 --> 00:26:30,060
There are a few on the side...

489
00:26:30,060 --> 00:26:32,060
There is one on the preschool side.

490
00:26:32,060 --> 00:26:35,060
There are two that are even closer to the sector

491
00:26:35,060 --> 00:26:38,060
of the entire collection. Which are two accessible
toilets.

492
00:26:38,060 --> 00:26:40,060
There would be...

493
00:26:40,060 --> 00:26:41,060
We've even made a sanitary block,

494
00:26:41,060 --> 00:26:44,060
with a toilet block that's a little further
away,

495
00:26:44,060 --> 00:26:47,060
it would be easily possible to bring them closer
to the hall.

496
00:26:48,060 --> 00:26:53,060
An accessible toilet block, even, closer to
the hall,

497
00:26:53,060 --> 00:26:54,060
without any problems.

498
00:26:54,060 --> 00:26:56,060
And, even, in the library, if it's desirable,

499
00:26:56,060 --> 00:27:01,020
we have a volume, which is a full volume, where
there are the IT

500
00:27:01,020 --> 00:27:04,020
and creations sectors, which could also have

501
00:27:05,020 --> 00:27:08,020
a sanitary block accessible there. No problem
at all.

502
00:27:08,020 --> 00:27:11,020
Thank you very much.

503
00:27:15,020 --> 00:27:18,020
Yes, thank you. Thank you for a good presentation.

504
00:27:19,020 --> 00:27:24,020
I really enjoyed the promenades that were proposed.

505
00:27:24,020 --> 00:27:27,020
I think we can imagine, in the future, the
installation

506
00:27:27,020 --> 00:27:30,020
of various small

507
00:27:30,020 --> 00:27:32,020
islands along these promenades.

508
00:27:32,020 --> 00:27:35,020
Now... And also,

509
00:27:35,020 --> 00:27:39,020
I really appreciated your mention of winter
use,

510
00:27:39,020 --> 00:27:42,020
because this site is also used in winter.

511
00:27:43,020 --> 00:27:45,020
You are proposing an amphitheatre

512
00:27:45,020 --> 00:27:48,020
on the north side of the building.

513
00:27:49,020 --> 00:27:50,020
Is this amphitheatre

514
00:27:50,020 --> 00:27:53,020
included in your estimate?

515
00:27:53,020 --> 00:27:57,020
No, it's a proposal. No, but it depends on-
Are we talking about the natural amphitheatre?

516
00:27:58,020 --> 00:27:59,020
The one in front?

517
00:27:59,020 --> 00:28:01,080
Yes, yes, yes.

518
00:28:01,080 --> 00:28:03,080
Yes, it's included.

519
00:28:03,080 --> 00:28:05,080
So this would be the place

520
00:28:05,080 --> 00:28:08,080
where we would put on shows and activities,

521
00:28:08,080 --> 00:28:12,080
for example, during Canada Day

522
00:28:13,080 --> 00:28:15,080
celebrations?

523
00:28:15,080 --> 00:28:16,080
Would this be the place for that?

524
00:28:16,080 --> 00:28:18,080
No, actually, that would be really...

525
00:28:18,080 --> 00:28:19,080
In fact, the way

526
00:28:19,080 --> 00:28:22,080
we thought about it, it was really for small-scale
events.

527
00:28:22,080 --> 00:28:26,080
So everything that's really juxtaposed to the
buildings

528
00:28:26,080 --> 00:28:27,080
are little agoras,

529
00:28:27,080 --> 00:28:31,080
little places for smaller-scale events.

530
00:28:31,080 --> 00:28:35,080
Then, the amphitheatre, really for the event
zone,

531
00:28:37,080 --> 00:28:38,080
the large-scale temporary stage

532
00:28:38,080 --> 00:28:41,080
is actually on the park side.

533
00:28:42,080 --> 00:28:45,080
Maybe I can bring the... That's it.

534
00:28:47,080 --> 00:28:48,080
In that zone.

535
00:28:48,080 --> 00:28:49,080
Exactly.

536
00:28:49,080 --> 00:28:52,080
So it would be in the park,

537
00:28:52,080 --> 00:28:55,080
along the events trail.

538
00:28:55,080 --> 00:29:00,040
OK, that's good. Because, of course, the orientation
towards the lake is important.

539
00:29:00,040 --> 00:29:03,040
We have moonrises in the early

540
00:29:03,040 --> 00:29:06,040
evening on the lake, so it's very appreciated,

541
00:29:06,040 --> 00:29:09,040
when there are events, to have these shows
at the same time.

542
00:29:09,040 --> 00:29:13,040
I also think that the proposed location is
an interesting one.

543
00:29:13,040 --> 00:29:17,040
If I may, just on that point.

544
00:29:18,040 --> 00:29:21,040
If I may, just on that point.

545
00:29:21,040 --> 00:29:24,040
There is indeed a larger one here.

546
00:29:24,040 --> 00:29:28,040
We have the boreal forecourt with an agora
integrated into the building. At the back-

547
00:29:28,040 --> 00:29:30,040
What you've seen here at the back or the front,
we thought we could

548
00:29:32,040 --> 00:29:35,040
integrate a small agora for smaller activities,

549
00:29:35,040 --> 00:29:37,040
including screenings. Because we have an area
that we thought

550
00:29:37,040 --> 00:29:40,040
we could leave clear for outside projections.

551
00:29:40,040 --> 00:29:44,040
And then there's the river forecourt, which
is relatively large, and the esplanade,

552
00:29:44,040 --> 00:29:46,040
which is here, which is connected.

553
00:29:46,040 --> 00:29:49,040
So we made sure that we had different activities,
different scales

554
00:29:49,040 --> 00:29:52,040
to bring the site to life according to the
City's needs.

555
00:29:54,040 --> 00:29:56,040
I noticed in your

556
00:29:56,040 --> 00:30:02,000
documentation that the paths were either concrete
or paved.

557
00:30:02,000 --> 00:30:06,000
Have you considered other materials, or is
it just paved?

558
00:30:07,000 --> 00:30:11,000
Actually, no. For the promenades, we've planned

559
00:30:11,000 --> 00:30:14,000
them all in stone dust, and the paths

560
00:30:14,000 --> 00:30:18,000
and forecourts would be paved to make them
more resistant.

561
00:30:18,000 --> 00:30:21,000
Parking lot is asphalt,

562
00:30:21,000 --> 00:30:25,000
to make it easier for maintenance, snow removal
and all that,

563
00:30:25,000 --> 00:30:27,000
but with bio-retention.

564
00:30:27,000 --> 00:30:30,000
So, the idea is really to go as green as possible.

565
00:30:31,000 --> 00:30:34,000
But for the most part, it's really permeable
paths

566
00:30:34,000 --> 00:30:40,000
where water can percolate. The boat ramp, for
example, will be more concrete.

567
00:30:40,000 --> 00:30:44,000
But the rest, the paths to get there, would
be made of stone dust.

568
00:30:44,000 --> 00:30:49,000
And one last question about rainwater management:

569
00:30:50,000 --> 00:30:54,000
it goes down to the lake

570
00:30:55,000 --> 00:30:56,000
in this way.

571
00:30:56,000 --> 00:30:59,000
Can you tell me where it's going to end up?

572
00:31:01,060 --> 00:31:04,060
Je vais expliquer, en fait...

573
00:31:06,060 --> 00:31:09,060
So, OK, I'm going to take the microphone, otherwise
I wouldn't be able to do it.

574
00:31:12,060 --> 00:31:15,060


575
00:31:16,033 --> 00:31:19,033


576
00:31:22,060 --> 00:31:24,060
OK, can you hear me?

577
00:31:24,060 --> 00:31:27,060
So here we have the landscape wing,

578
00:31:28,060 --> 00:31:31,060
which is discharged into a retention zone,
which is here.

579
00:31:31,060 --> 00:31:35,060
The same applies to the future transformation
of the ditch, here,

580
00:31:35,060 --> 00:31:36,060
which could drain there.

581
00:31:36,060 --> 00:31:39,060
Then, the entire thing goes to the lake.

582
00:31:40,060 --> 00:31:43,060
So, on the beach?

583
00:31:44,060 --> 00:31:48,060
Actually, no, not on the beach. Next to it?

584
00:31:49,060 --> 00:31:50,060
It's under the ground there, actually.

585
00:31:50,060 --> 00:31:53,060
There's no... It's not apparent.

586
00:31:55,060 --> 00:31:57,060
From the bioretention zone,

587
00:31:57,060 --> 00:32:00,020
here, there. ...(inaudible)...

588
00:32:00,020 --> 00:32:03,020
Yes, exactly.

589
00:32:04,020 --> 00:32:05,020
So, here,

590
00:32:05,020 --> 00:32:09,020
we have the dry river, the landscape wing,

591
00:32:09,020 --> 00:32:13,020
the bioretention system, which, if there is
an overflow, the excess

592
00:32:13,020 --> 00:32:17,020
can be channelled into the surface retention
zone,

593
00:32:17,020 --> 00:32:21,020
which is then channelled into the lake.

594
00:32:24,020 --> 00:32:25,020
So it might be something

595
00:32:25,020 --> 00:32:28,020
that would be... Yes, everything needs to be
worked on.

596
00:32:29,020 --> 00:32:32,020
Because, in fact, we don't know the flow rate
of the ditch and all that.

597
00:32:32,020 --> 00:32:33,020
So there are lots of concepts

598
00:32:33,020 --> 00:32:36,020
that we don't have yet: calculations, quantities,
all that.

599
00:32:36,020 --> 00:32:39,020
So these are things we really need to work
on

600
00:32:39,020 --> 00:32:42,020
with the City and the civil engineer.

601
00:32:42,020 --> 00:32:45,020
The direction of water flow in the lake too.

602
00:32:45,020 --> 00:32:48,020
Exactly. ...(inaudible)...

603
00:33:00,080 --> 00:33:03,080
But if you'll allow me.

604
00:33:03,080 --> 00:33:05,080
Yes.

605
00:33:05,080 --> 00:33:06,080
Not close enough.

606
00:33:06,080 --> 00:33:09,080
OK. So I'll start by quoting your text.

607
00:33:09,080 --> 00:33:13,080
You say: "The new building meets the landscape,
allowing

608
00:33:13,080 --> 00:33:16,080
recognition of the site and its historical,

609
00:33:16,080 --> 00:33:18,080
contextual

610
00:33:18,080 --> 00:33:20,080
and symbolic

611
00:33:20,080 --> 00:33:22,080
stratification.” So I'd like to hear what
you have to say

612
00:33:22,080 --> 00:33:26,080
on the question of context and symbolism.

613
00:33:26,080 --> 00:33:29,080
You said that the landscape dominates.

614
00:33:29,080 --> 00:33:31,080
We understand that your integration strategy

615
00:33:32,080 --> 00:33:34,080
is mainly landscape-based.

616
00:33:34,080 --> 00:33:37,080
In other words, the building slips beneath
the landscape.

617
00:33:37,080 --> 00:33:38,080
The fact remains

618
00:33:38,080 --> 00:33:41,080
that there are three facades that are architectural
in nature,

619
00:33:41,080 --> 00:33:45,080
whose language is mainly plastic. After all,

620
00:33:45,080 --> 00:33:47,080
the entrances are big gullies.

621
00:33:47,080 --> 00:33:49,080
There are no traditional doors.

622
00:33:49,080 --> 00:33:52,080
It's a very, very plastic language.

623
00:33:52,080 --> 00:33:55,080
So could you tell us how it fits in with

624
00:33:55,080 --> 00:33:58,080
Beaconsfield's built heritage?

625
00:33:58,080 --> 00:34:01,040
Or perhaps you'll say: "We're not trying to
tie in with the

626
00:34:02,040 --> 00:34:04,040
built heritage.

627
00:34:04,040 --> 00:34:07,040
Our interest, our strategy, is mainly landscape.”

628
00:34:07,040 --> 00:34:10,040
Well, the strategy is very landscape-oriented.

629
00:34:11,040 --> 00:34:13,040
The answer, the strategy, is based

630
00:34:13,040 --> 00:34:16,040
mainly on the human experience, the experience
of users

631
00:34:16,040 --> 00:34:19,040
when they walk through the park and what they
will discover.

632
00:34:19,040 --> 00:34:22,040
So, yes, that's it. We're directing people
to the entrance.

633
00:34:22,040 --> 00:34:25,040
We want to catch them, we want to bring them
in, we want to create interaction.

634
00:34:25,040 --> 00:34:27,040
When we talked about one of the conditions
for success, this is one of them.

635
00:34:27,040 --> 00:34:30,040
What I'd like is for teenagers to come in and
say: "Ah, there are books here! My goodness!

636
00:34:31,040 --> 00:34:31,040
What is a book?"

637
00:34:32,040 --> 00:34:32,040
So, that's what

638
00:34:32,040 --> 00:34:34,040
we're trying to create.

639
00:34:34,040 --> 00:34:37,040
That is how the entrances are created. They
are part of a journey.

640
00:34:37,040 --> 00:34:41,040
At one point, we drew up a plan in which we
removed the entire roof,

641
00:34:41,040 --> 00:34:43,040
and then it was a plan that had to be really
interesting.

642
00:34:43,040 --> 00:34:45,040
It's a bit like a Nolli plan, a plan of a city

643
00:34:45,040 --> 00:34:49,040
where you can see the pedestrian routes. What's
full and what's empty.

644
00:34:49,040 --> 00:34:51,040
Then we had this understanding.

645
00:34:51,040 --> 00:34:54,040
The reference, of course, to this historical
context,

646
00:34:54,040 --> 00:34:57,040
but for us, we referenced it through the materiality,

647
00:34:58,040 --> 00:34:59,040
in terms of the wood,

648
00:34:59,040 --> 00:35:01,000
we have an exterior wood cladding.

649
00:35:01,000 --> 00:35:04,000
It's a subtle nod to the existing house.

650
00:35:04,000 --> 00:35:05,000
We didn't want to go

651
00:35:05,000 --> 00:35:09,000
for a pastiche of existing buildings, nor did
we want to go for references

652
00:35:10,000 --> 00:35:12,000
that were too close to the architectural elements.

653
00:35:12,000 --> 00:35:13,000
We have a building that is, after all,

654
00:35:13,000 --> 00:35:16,000
a pavilion in a park. And that's something
we wanted to take on board,

655
00:35:16,000 --> 00:35:18,000
this pavilion concept where there's

656
00:35:18,000 --> 00:35:21,000
work on the wood, there's work on the envelope.

657
00:35:21,000 --> 00:35:24,000
We have a white silk-screened glass, where
there are interesting levels of interpretation

658
00:35:24,000 --> 00:35:27,000
through an object that is a little plastic,
yes,

659
00:35:28,000 --> 00:35:32,000
in its shape, but that we also see through
a wooded landscape.

660
00:35:33,000 --> 00:35:35,000
The view from the park seems unobstructed.

661
00:35:35,000 --> 00:35:38,000
In reality, we removed all the trees because

662
00:35:38,000 --> 00:35:41,000
we wanted to express the project well, but
we don't actually remove them.

663
00:35:42,000 --> 00:35:44,000
...(inaudible)...

664
00:35:44,000 --> 00:35:47,000
In real terms, because I can tell you that
we

665
00:35:47,000 --> 00:35:50,000
moved the building to fit it to the millimetre,

666
00:35:50,000 --> 00:35:53,000
but we've made sure that we can read it through
all these layers.

667
00:35:54,000 --> 00:35:56,000
So, it's this reference to the user experience

668
00:35:56,000 --> 00:36:01,060
that comes first, that dominates; where architecture
and landscape interact,

669
00:36:01,060 --> 00:36:03,060
but for us, landscape was an important element.

670
00:36:04,060 --> 00:36:07,060
I have a second question.

671
00:36:09,060 --> 00:36:11,060
You named several

672
00:36:11,060 --> 00:36:14,060
promenades

673
00:36:17,060 --> 00:36:22,060
...(inaudible)...

674
00:36:22,060 --> 00:36:25,060
Oh yes, the rooftop promenade is part of it.

675
00:36:26,060 --> 00:36:27,060
Yes, yes, it's integrated.

676
00:36:27,060 --> 00:36:29,060
It's part of the Leisure Promenade

677
00:36:29,060 --> 00:36:32,060
Then, it's really in the experience, really

678
00:36:32,060 --> 00:36:35,060
with the children, with grandma and everything.

679
00:36:35,060 --> 00:36:38,060
So it's really like going up to the roof and
seeing the belvedere.

680
00:36:38,060 --> 00:36:41,060
We'll head back down, then off to explore the
other side.

681
00:36:41,060 --> 00:36:44,060
So it's really intertwined with the architecture,

682
00:36:44,060 --> 00:36:47,060
but it's part of it.

683
00:36:48,060 --> 00:36:51,060


684
00:36:56,466 --> 00:36:58,233
questions.

685
00:36:58,060 --> 00:37:00,020
Firstly, I'd just like to clarify something

686
00:37:00,020 --> 00:37:02,020
about your sanitary block.

687
00:37:02,020 --> 00:37:05,020
Are these gender-neutral washrooms?

688
00:37:07,020 --> 00:37:08,020
That's a good question.

689
00:37:08,020 --> 00:37:08,020
It's something ...(inaudible)... the competition.

690
00:37:10,020 --> 00:37:11,020
For me, it's gender-neutral.

691
00:37:11,020 --> 00:37:13,020
The big block, it is. It's just our-

692
00:37:13,020 --> 00:37:15,020
one position, but it's not something that's
necessarily immutable.

693
00:37:15,020 --> 00:37:18,020
In competitions, you work as part of a team

694
00:37:18,020 --> 00:37:20,020
- a a large team, in fact - and then you fight
it out over projects.

695
00:37:20,020 --> 00:37:23,020
Other projects we said to ourselves, OK, in
such and such a project

696
00:37:23,020 --> 00:37:27,020
it was non-gendered, but are we capable of
offering some that are gendered, yes.

697
00:37:27,020 --> 00:37:28,020
Are we capable of-

698
00:37:28,020 --> 00:37:31,020
It's a discussion. It's a discussion we've
had in each of our projects,

699
00:37:31,020 --> 00:37:32,020
and even more so today.

700
00:37:32,020 --> 00:37:35,020
We go to secondary schools, we have the same
discussion.

701
00:37:35,020 --> 00:37:37,020
We adapt to each community.

702
00:37:37,020 --> 00:37:40,020
So, for the moment, they're non-gendered,

703
00:37:40,020 --> 00:37:44,020
but there are a bunch of health units scattered
around

704
00:37:44,020 --> 00:37:46,020
the project where other people could say:

705
00:37:46,020 --> 00:37:47,020
"I'd rather go there.”

706
00:37:48,020 --> 00:37:49,020
OK, thank you.

707
00:37:49,020 --> 00:37:52,020
My second question concerns the youth activity
room.

708
00:37:52,020 --> 00:37:54,020
So the shape is a little atypical.

709
00:37:54,020 --> 00:37:57,020
I'd like you to tell me how you see the programmes

710
00:37:58,020 --> 00:38:01,080
and the planning activities in this room?

711
00:38:03,080 --> 00:38:06,080
But, in fact, yes, it's a bit, perhaps, atypical

712
00:38:06,080 --> 00:38:08,080
as a form;

713
00:38:08,080 --> 00:38:11,080
but allows us to work with several sectors

714
00:38:11,080 --> 00:38:13,080
with a wide range of activities.

715
00:38:13,080 --> 00:38:16,080
We can have the class format

716
00:38:17,080 --> 00:38:19,080
with the projection space.

717
00:38:19,080 --> 00:38:22,080
You can have a variety of highly flexible reading
spaces.

718
00:38:22,080 --> 00:38:27,080
We wondered whether, on the wooded side, it
was for the teaching room,

719
00:38:27,080 --> 00:38:32,080
that was there, and then, on the other side,
more informal reading areas.

720
00:38:33,080 --> 00:38:35,080
It's a very flexible space.

721
00:38:35,080 --> 00:38:37,080
What we found interesting, in fact, what we
found interesting for us,

722
00:38:37,080 --> 00:38:40,080
was to make a real link with the outside, with
the forested area,

723
00:38:41,080 --> 00:38:46,080
and to be able to extend this teaching room
outside,

724
00:38:46,080 --> 00:38:50,080
under the courtyard, to be able to do some
reading. In one of the projects,

725
00:38:50,080 --> 00:38:53,080
I know that when they go to the library, they
do a lot of-

726
00:38:53,080 --> 00:38:57,080
they do a lot of reading outside and sometimes
set up small tents outside,

727
00:38:57,080 --> 00:38:59,080
in the forested area, to do their reading,

728
00:38:59,080 --> 00:39:01,040
and that's a bit like the space we imagined.

729
00:39:04,040 --> 00:39:04,040
If I could just conclude?

730
00:39:04,040 --> 00:39:06,040
Once again, one of the difficult things

731
00:39:06,040 --> 00:39:08,040
about the competition, once again, is that
you're on your own.

732
00:39:08,040 --> 00:39:10,040
We're drawing on our experiences, the experiences
of Émilie

733
00:39:10,040 --> 00:39:14,040
and her schoolchildren, the experience ...
in a library,

734
00:39:14,040 --> 00:39:16,040
the experience I've had with mine, your experiences
with your older teenager.

735
00:39:16,040 --> 00:39:20,040
So that's what we're basing it on, but another
condition for the success of a project,

736
00:39:21,040 --> 00:39:23,040
and particularly in these cases, is the work

737
00:39:23,040 --> 00:39:25,040
that needs to be done with the project team
that's to come.

738
00:39:25,040 --> 00:39:28,040
And that's essential. Because here we have
a lot of hypotheses

739
00:39:28,040 --> 00:39:31,040
that have not been presented, and we have 20
minutes, which is very short.

740
00:39:32,040 --> 00:39:35,040
So, to present all this work to you. But a
lot of things have been thought through.

741
00:39:35,040 --> 00:39:38,040
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,

742
00:39:39,040 --> 00:39:41,040
you could hold such and such an activity there.

743
00:39:41,040 --> 00:39:45,040
These things need to be shared and exchanged,

744
00:39:45,040 --> 00:39:48,040
and there are always moments during a project
when

745
00:39:48,040 --> 00:39:52,040
the client's understanding

746
00:39:52,040 --> 00:39:55,040
adjusts to ours and we adjust to theirs.

747
00:39:55,040 --> 00:39:58,040
And that's when we reach a point of balance.

748
00:39:58,040 --> 00:40:01,000
And then we enter into the full development
of the project.

749
00:40:01,000 --> 00:40:04,000
And that's the greatest criterion for success.

750
00:40:04,000 --> 00:40:05,000
One of the biggest criteria.

751
00:40:05,000 --> 00:40:06,000
Because we underestimate

752
00:40:06,000 --> 00:40:08,000
the amount of work that goes into

753
00:40:08,000 --> 00:40:12,000
this type of project: the adjustments, the
signage, the finesse.

754
00:40:12,000 --> 00:40:15,000
A cultural project is a fine-tuned project

755
00:40:15,000 --> 00:40:17,000
because we have to think about all the users.

756
00:40:17,000 --> 00:40:20,000
You talked about the younger ones, it's true,
about holding multiple activities.

757
00:40:21,000 --> 00:40:23,000
You can't just have one big hall. You have
need to have multiple activities

758
00:40:23,000 --> 00:40:25,000
taking place simultaneously as part of a project.

759
00:40:36,000 --> 00:40:39,000
Thank you very much for the presentation!

760
00:40:39,000 --> 00:40:41,000
It's much appreciated.

761
00:40:41,000 --> 00:40:45,000
The first sketch when the machine has jammed

762
00:40:46,000 --> 00:40:49,000
and you had the sketch for a long time.

763
00:40:50,000 --> 00:40:51,000
The first sketch, apparently,

764
00:40:51,000 --> 00:40:54,000
is what you see from Beaconsfield Boulevard,
right?

765
00:40:56,000 --> 00:41:00,060
Then, on your first idea.

766
00:41:00,060 --> 00:41:02,060
Can you explain a little more about

767
00:41:02,060 --> 00:41:05,060
what you imagine we'll see

768
00:41:05,060 --> 00:41:08,060
if we don't go there, but continue on Beaconsfield?

769
00:41:08,060 --> 00:41:10,060
What are we going to see of the building?

770
00:41:10,060 --> 00:41:13,060
And what's your idea

771
00:41:13,060 --> 00:41:15,060
of this image of the building from the Boulevard?

772
00:41:15,060 --> 00:41:17,060
This is the sketch with a little more definition.

773
00:41:17,060 --> 00:41:19,060
...(inaudible)...

774
00:41:19,060 --> 00:41:23,060
Yes, that was at the beginning, but there was
an initial sketch,

775
00:41:23,060 --> 00:41:27,060
the one that appeared, where you thought to
yourselves "but he draws very badly,” and
rightly so,

776
00:41:27,060 --> 00:41:30,060
but the second one, the one you saw on the
front page,

777
00:41:30,060 --> 00:41:31,060
Yes, it's a little further on.

778
00:41:31,060 --> 00:41:34,060
Things become clearer in our heads.

779
00:41:34,060 --> 00:41:35,060
We went out earlier.

780
00:41:35,060 --> 00:41:37,060
I was sitting behind you, you were driving.

781
00:41:37,060 --> 00:41:37,060
And, I was looking.

782
00:41:37,060 --> 00:41:40,060
And then I saw: full, full, full, full... Oh!
the river.

783
00:41:41,060 --> 00:41:44,060
Ah, I can see the river. A sort of sequence
appeared.

784
00:41:44,060 --> 00:41:47,060
Then I couldn't wait to get to the site to
say:

785
00:41:48,060 --> 00:41:51,060
That's it.

786
00:41:51,060 --> 00:41:54,060
This body of water in front of me, I have access
to it.

787
00:41:55,060 --> 00:41:57,060
This is a crucial element.

788
00:41:57,060 --> 00:42:00,020
This perception, this openness to the shore.
Because this waterfront landscape is part

789
00:42:00,020 --> 00:42:03,020
of Beaconsfield's identity, this riverside
landscape.

790
00:42:04,020 --> 00:42:09,020
We deliberately slimmed down the Beaconsfield
project, thinking

791
00:42:10,020 --> 00:42:12,020
that the place would be well known, that people
would be familiar with it.

792
00:42:12,020 --> 00:42:14,020
It's a place of community. People don't have

793
00:42:14,020 --> 00:42:17,020
to say: "Hey, it's here! it's here!" No,

794
00:42:17,020 --> 00:42:20,020
the place will be known, giving the landscape
its due.

795
00:42:20,020 --> 00:42:23,020
Giving this riverside landscape its due.

796
00:42:23,020 --> 00:42:27,020
So that's why the project is ...(inaudible)...
the people on the boulevard

797
00:42:27,020 --> 00:42:29,020
all the way to shore.

798
00:42:29,020 --> 00:42:31,020
And that's the spirit in which the project
was conceived.

799
00:42:31,020 --> 00:42:36,020
This is the sketch, the second sketch, which
is perhaps sketch number 33 from the same sketch

800
00:42:36,020 --> 00:42:41,020
to the end. At some point it would be interesting
to share them.

801
00:42:41,020 --> 00:42:45,020
It reinforces the image: how can we go bigger?

802
00:42:45,020 --> 00:42:47,020
And then, even at the beginning,

803
00:42:47,020 --> 00:42:49,020
in the first volumetrics, we lowered the project,

804
00:42:49,020 --> 00:42:51,020
we worked to reduce the scale of the project.

805
00:42:51,020 --> 00:42:54,020
We thought it was too big, so we worked to
say, "no, we need

806
00:42:54,020 --> 00:42:55,020
to scale it down.”

807
00:42:55,020 --> 00:42:58,020
We need a scale that is similar to the residential
scale.

808
00:42:59,020 --> 00:43:02,080
You mentioned earlier, Manon, the links with
the context, but

809
00:43:02,080 --> 00:43:05,080
we didn't want a building that exceeded the
height of the neighbours.

810
00:43:05,080 --> 00:43:07,080
So we've reduced the scale as much as possible,

811
00:43:09,080 --> 00:43:11,080
to the max, so that we can see

812
00:43:11,080 --> 00:43:15,080
this river through this absolutely magnificent
forest

813
00:43:15,080 --> 00:43:18,080
and these immense trees at the end.

814
00:43:20,080 --> 00:43:24,080
You raised your hand. Emily had a question.

815
00:43:30,080 --> 00:43:32,080
...(inaudible)...

816
00:43:32,080 --> 00:43:35,080
I'm going to have the last word.

817
00:43:35,080 --> 00:43:36,080
It works. OK, yes.

818
00:43:36,080 --> 00:43:39,080
In fact, I don't even have a question.

819
00:43:43,080 --> 00:43:45,080
But, in fact, no, but-

820
00:43:45,080 --> 00:43:48,080
I think it's worth saying,

821
00:43:48,080 --> 00:43:50,080
I thought you

822
00:43:50,080 --> 00:43:52,080
handled

823
00:43:52,080 --> 00:43:55,080
the whole speech very elegantly.

824
00:43:57,080 --> 00:44:03,040
Thank you, yes.

825
00:44:14,040 --> 00:44:14,040
Thank you.