“Il n’y a aucune raison de s’interdire, surtout lorsqu’on est architecte, d’étudier la construction des pyramides, sous prétexte que l’on n’a pas le badge ‘égyptologue certifié’ “
(Jean-Pierre Houdin)

The Pyramidales Interview with Jean-Pierre Houdin, Part One
http://emhotep.net/2011/04/18/locations/lower-egypt/giza-plateau-lower-egypt/the-pyramidales-interview-with-jean-pierre-houdin-part-one/

Just hours before the premier of Kheops Renaissance (also called Khufu Reborn), Jean-Pierre Houdin granted an exclusive interview to fellow Egyptology blogger Marc Chartier, proprietor of the website Pyramidales.  Timed for release immediately following the event, Marc’s interview is a perfect introduction to Episode Two and the  Project Khufu material that will be forthcoming from both Pyramidales and Em Hotep.pHoudin1
Previously available only in French, this is the first official English language translation, made available through our partnership with Pyramidales and Dassault Systèmes.  Over the next few weeks I will be publishing, in addition to Part Two of this interview, translations of additional material that is being very kindly provided by Marc, Jean-Pierre, and the Project Khufu team at Dassault Systèmes.  This will allow me some time to get caught up and reoriented after having to take one of my infamous sabbaticals (sometimes life just shows up with a bag full of challenges, but all is well, Gentle Reader!).
“There is no reason to abstain, especially when you are an architect, from studying the construction of the pyramids, on the pretext that you don’t have the ‘certified Egyptologist’ badge” (Jean-Pierre Houdin)
It was on March 30, 2007, a significant date for the architect-researcher Jean-Pierre Houdin: on this day he publicly “revealed”, in the futuristic setting of the Géode, (la Villette in Paris), what it is advisable to call his “theory” on the construction of the Pyramid of Khufu.
Today, January 27, 2011, for the preview of Khufu Reborn (also known as Khufu Renaissance), still the same venue, the same décor. But while the same people are involved (the Dassault Systèmes “Khufu Team” is still at the controls), the contents of the paper have developed considerably, as would have been expected. Since 2007, when it was essentially a question of an internal ramp and of the Grand Gallery as a track for a gigantic counterweight inside the Great Pyramid, Jean-Pierre Houdin has taken his inventory of the monument much further, in its internal structure and it topographic environment. (См. далее)

The Pyramidales Interview with Jean-Pierre Houdin, Part Two
http://emhotep.net/2011/04/26/locations/lower-egypt/giza-plateau-lower-egypt/the-pyramidales-interview-with-jean-pierre-houdin-part-two/

Part Two of Marc Chartier’s interview with Jean-Pierre Houdin following the premier of Kheops Renaissance, the long-awaited Episode Two of Project Khufu.  This interview is part of a series of articles that first appeared on the website Pyramidales, run by Marc Chartier.  These exclusive English-language translations are provided to Em Hotep courtesy of Marc, Jean-Pierre Houdin, and Dassault Systèmes.
“The Egyptians built what they knew how to, as simply and logically as possible.”  –Jean-Pierre Houdin
Continuation of the interview Jean-Pierre Houdin gave exclusively to Pyramidales, to coincide with the public presentation of his “theory” Khufu Reborn (aka Khufu Renaissance).
After discussing his working approach in presenting the Great Pyramid’s construction in a new light, then flying us over the Giza Plateau (royal causeway, external ramp extended by a second internal ramp), he takes us inside the monument to show us structures abandoned a great many centuries ago to the silence of the stone.
The aim of his reasoning:  to reveal the “how” of the pyramid’s primary function. Before being a gigantic arrangement of limestone and granite blocks, this monument was actually designed and built to serve as the eternal resting place for a deceased Pharaoh. Now, the similarities between the Fourth Dynasty pyramids lead the architect to draw the obvious conclusions, given the funereal architectural logic of the era: the inference of the existence of two antechambers in front of the King’s Chamber; the abandoning of the “service circuit” (descending and ascending corridors, Grand Gallery, etc.) as insufficiently “noble” for the royal funeral; the second entrance (the real one) to the King’s Chamber, and so on. (См. далее)