Short answers, pulled from the story.
Philibert de l'Orme, born between the 3rd and the 9th of June 1514 in Lyon, was a French architect and writer regarded as one of the great masters of French Renaissance architecture. He served as royal architect to Henry II for eleven years, overseeing nearly all of the king's building projects, and produced works at the Château d'Anet, Château de Chenonceau, and the Tuileries Palace, among others.
As royal architect from 1548 to 1559, de l'Orme supervised projects including the Château de St Maur-des-Fossés, the Château d'Anet, the Château de Chenonceau in the Loire Valley, the royal Château de Madrid in the Bois de Boulogne, the Château de Vincennes, and major modifications to the Palace of Fontainebleau. The sole exception among Henry II's projects was the Louvre, which was handled by Pierre Lescot.
Charpente à petits bois was a new method de l'Orme invented for constructing the wooden frameworks used to support stone buildings. He demonstrated it before Henry II in 1555; it was quicker, less expensive, and used significantly less wood than previous methods. He applied it at the royal Château de Montceaux and at the hunting lodge La Muette in the Forest of Saint-Germain-en-Laye.
De l'Orme lost his position because his patron, Henry II, died on the 10th of July 1559. Two days later, de l'Orme was dismissed from his official posts and replaced by the Italian artist and architect Francesco Primaticcio, whose style was then in fashion among the French court.
His reputation suffered during the Louis XIV period, when his works at the Tuileries were demolished in 1664 and in 1683 François Blondel of the Royal Academy condemned his "villainous Gothic ornaments". His standing recovered in the eighteenth century when Dezallier d'Argenville praised him in 1787 and wrote the first biography of his work. Scholars including H. Clouzot and Anthony Blunt produced important academic studies in the nineteenth and twentieth centuries.
A 1626 engraved portrait of de l'Orme was adapted in 1919 by the Belarusian bibliophile Ramuald Ziamkievič and presented as a purported sixteenth-century portrait of the Belarusian humanist Wasyl Ciapiński. This misidentified image then circulated widely in Belarusian publications throughout the twentieth century.