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2006 et moins -------------------- Nouvelles constructions 27 :: 1200 de Maisonneuve Ouest, tour 1 27 :: 1200 de Maisonneuve Ouest, tour 2 23 :: Roc Fleuri 15 :: Profil O 8 :: Le Central Urbain 5 :: Urbania, phase 2 (Laval) 5 :: Urbania, phase 1 (Laval) 5 :: Jardins Upper West Side, phase 1 X :: Mosquée au Centre-Ville X :: Le Dome de Fuller (Biosphère) X :: Lorne M. Trottier Building

I have a dream. That the Mont-Royal was taller. Let's make it that way. Let's dump some tonnes (several) of dirt and rocks on top of it. Let's prevent the inevitable building plateau.

Nom: 1200 McGill College Hauteur en étages: 24 Hauteur en mètres: 84 Bonjour à tous! Je suis un lecteur d'MtlUrb depuis un an maintenant. J'adore la passion que tout le monde ici a pour l'architecture à Montréal, même si elle est négative parfois! Je suis bilingue, mais je préfère écrire en anglais, donc vous pouvez me répondre en anglais ou en français. Merci! La Tour Rogers in the state that it is today is a disgrace to McGill College, one of the most beautiful streets in Montreal. If you are not familiar with the rusted and faded building, here it is: Bellow is my vision to refresh 1200 McGill College. The renders were created in Revit 2017, I'm studying to be architectural technologist and making these renders are a part of the job. The renderings that usually come with a proposal are created by a team with very powerful computers. I made these renders on my laptop at home in my free time, I still think it turned out well: In my vision, the bronze aluminum sections of the elevations would be replaced by a silver aluminum. This finish would be nearly identical to the finish on Place ville Marie, I think that would be a noteworthy integration. The windows would be replaced with black reflective windows, like the ones being installed on the new Holiday Inn on R.L. For the brick section, I would replace the brick with black prefab concrete slabs like the ones on Tour Des Canadiens. I also chose to add a billboard that would be used to advertise CityTv and Breakfast Television Montreal (I wanted to put a screen under the billboard, but didn't). This is done on the CityTv building in Toronto: I know some of you hate prefab and billboards, but I think in this situation they add character to a TV studio building. I did not do any design work on the commercial section facing St Catherines, so in the render it is just a glass box. If you have any ideas for the vision, let me know! If I have free time, maybe I will add some suggestions and post new renders. Thank you!

Je sais pas si c'est le bon forum, mais je suis vraiment tres curieux de savoir c'est quoi: edit: Le plus d'info que j'ai trouve SID LEE - Timeline | Facebook

http://montrealgazette.com/news/local-news/good-architecture-pays-french-expert <header class="entry-header" style="margin: 0px; padding: 0px; border: 0px; font-stretch: inherit; font-size: 15px; line-height: 24px; font-family: BentonSans-Regular, Arial, Helvetica, sans-serif; vertical-align: baseline; color: rgb(0, 0, 0);">The good, the bad and the ugly: French expert assesses Montreal architecture MARIAN SCOTT, MONTREAL GAZETTE More from Marian Scott, Montreal Gazette Published on: April 13, 2016 | Last Updated: April 13, 2016 7:00 AM EDT </header><figure class="align-none wp-caption post-img" id="post-783124media-783124" itemprop="associatedMedia" itemscope="" itemid="http://wpmedia.montrealgazette.com/2016/04/montreal-que-april-6-2016-emmanuel-caille-is-an-edito.jpeg?quality=55&strip=all&w=840&h=630&crop=1" itemtype="http://schema.org/ImageObject" style="margin: 0px 0px 2em; padding: 0px; border: 0px; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; vertical-align: baseline; overflow: hidden; color: rgb(255, 255, 255); float: none;"><figcaption class="wp-caption-text" itemprop="description" style="margin: -1px 0px 0px; padding: 10px; border: 0px; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; vertical-align: baseline; zoom: 1; text-align: right; background: rgb(12, 12, 12);"> Emmanuel Calle, editor of the French architecture magazine "d'a", at the Canadian Centre for Architecture. Caille shared his thoughts on Montreal's architecture. MARIE-FRANCE COALLIER </figcaption></figure>SHAREADJUSTCOMMENTPRINT What would an international expert think of Montreal’s recent architecture? To find out, the Montreal Gazette took French architecture critic Emmanuel Caille on a walking tour of downtown and Griffintown. He also visited the $52.6-million indoor soccer stadium that opened last year in the St-Michel district. Caille, the editor of the Paris-based architecture magazine “d’a”, was in town to take part in a panel discussion last week on architectural criticism, organized by the Maison de l’architecture du Québec and the Royal Architectural Institute of Canada (RAIC). Caille’s verdict on our fair city ranged from a thumbs-up for the pricey new soccer stadium to shocked incredulity over a new hotel annex to the Mount Stephen Club, a historic mansion at 1440 Drummond St. <figure id="attachment_783141" class="wp-caption post-img size_this_image_test align-center" itemprop="associatedMedia" itemscope="" itemid="photo url" itemtype="http://schema.org/ImageObject" style="margin: 0px auto 15px; padding: 0px; border: 0px; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; vertical-align: baseline; overflow: hidden; color: rgb(255, 255, 255); float: none; max-width: 100%; width: 1000px;"><figcaption class="wp-caption-text wp-caption" style="margin: -1px 0px 0px; padding: 10px; border: 0px; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; vertical-align: baseline; zoom: 1; text-align: right; background: rgb(12, 12, 12);"> The Mount Stephen Club. DARIO AYALA / MONTREAL GAZETTE </figcaption></figure>Built from 1880-83 for Lord Mount Stephen, the first president of the Canadian Pacific Railway, it has been in the news recently after suffering structural damage during construction of the annex. Caille, an architect as well as an editor, did not comment on the structural problems, but he did give a visual assessment of the hotel addition, an 11-storey cement-panel structure tucked behind the mansion. “It’s quite brutal in the city,” he said. From de Maisonneuve Blvd., the hotel addition presents a view of three blank walls with a shed-style roof. “It’s astonishing. It’s bizarre,” he said. Caille was also perplexed by the front façade, dotted with small windows of different sizes. “What is not obvious is what relationship there is between this building and the mansion. I don’t see any,” he added. The hotel addition shows why projects should not be conceived in isolation, Caille said. City planners should have put forward a vision for the entire block, which includes an outdoor parking lot on de la Montagne St. that would have made a better site for a high rise, he said. Interesting alleyways and outdoor spaces could have been included, he said. “Everybody is turning their back to one another,” he said of how the different properties on the block don’t relate to each other. At the Ritz-Carlton hotel on Sherbrooke St., Caille said a glass condo addition completed in 2013 is a good example of how to update a historic building for modern use. But he criticized white PVC windows on the hotel’s Sherbrooke St. façade for their thick frames and mullions, which don’t suit the building. “That’s horrible,” he said. “Windows are the eyes of a building. When women use an eye pencil to emphasize their eyes, it changes everything.” <figure id="attachment_783158" class="wp-caption post-img size_this_image_test align-center" itemprop="associatedMedia" itemscope="" itemid="photo url" itemtype="http://schema.org/ImageObject" style="margin: 0px auto 15px; padding: 0px; border: 0px; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; vertical-align: baseline; overflow: hidden; color: rgb(255, 255, 255); float: none; max-width: 100%; width: 997px;"><figcaption class="wp-caption-text wp-caption" style="margin: -1px 0px 0px; padding: 10px; border: 0px; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; vertical-align: baseline; zoom: 1; text-align: right; background: rgb(12, 12, 12);"> Construction workers work on the District Griffin condo project in Griffintown. DARIO AYALA / MONTREAL GAZETTE </figcaption></figure>In Griffintown, Caille was unimpressed by the banal architecture of condo towers that have sprouted in recent years in the former industrial district, which is undergoing rapid transformation. But the former Dow Planetarium at 1000 St-Jacques St. W. caught his eye. Built in 1966, it closed in 2011. The city turned it over to the Université du Québec’s École de technologie supérieure in 2013. ÉTS announced it would transform the building into a “creativity hub” but so far the building has sat vacant. Caille said the domed landmark has great potential to be recycled for a new vocation. “When a building is dirty and dilapidated, people don’t see its beauty. You have to see the beauty underneath the neglect,” he said. Today there is a consensus that older heritage buildings should be preserved but it’s still difficult to rally public opinion behind buildings from more recent eras, like the 1960s, Caille said. <figure id="attachment_783147" class="wp-caption post-img size_this_image_test align-center" itemprop="associatedMedia" itemscope="" itemid="photo url" itemtype="http://schema.org/ImageObject" style="margin: 0px auto 15px; padding: 0px; border: 0px; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; vertical-align: baseline; overflow: hidden; color: rgb(255, 255, 255); float: none; max-width: 100%; width: 1000px;"><figcaption class="wp-caption-text wp-caption" style="margin: -1px 0px 0px; padding: 10px; border: 0px; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; vertical-align: baseline; zoom: 1; text-align: right; background: rgb(12, 12, 12);"> The 26-storey Deloitte Tower between Windsor Station and the Bell Centre. DARIO AYALA / MONTREAL GAZETTE </figcaption></figure>The Deloitte Tower, a new 26-storey glass office tower between the Bell Centre and Windsor Station, is nothing to write home about, in Caille’s opinion. “It’s developer architecture,” he said. “There’s nothing interesting about it.” Built by developer Cadillac Fairview, it is part of the $2-billion, nine-tower Quad Windsor project. That includes the 50-storey Tour des Canadiens, which will be Montreal’s tallest condo tower for about a year, until the even taller nearby L’Avenue tower is completed. Most people don’t notice the difference between good and bad architecture when a building is new, Caille said. But over time, the defects of bad buildings grow increasingly obvious, while the good ones become beloved monuments, he said. “People go to New York to see the architecture of the 1920s and 30s,” he said, referring to landmarks like the 1931 Empire State Building and 1928 Chrysler Building. “Good architecture always pays off in the long term.” Unfortunately, much development is driven by short-term considerations, he said. While a developer can walk away from a mediocre building once it’s sold, city-dwellers are stuck with it, he said. “For him, it’s no problem. But for the city, it’s a tragedy,” he said. “Today’s architecture is tomorrow’s heritage,” he noted. Caille is a strong proponent of architectural competitions, which he sees as a way to seek out the best talents and ideas. “It forces people to think and it shows that for every problem, there are many solutions. It’s a way of accessing brainpower,” he said. <figure id="attachment_783196" class="wp-caption post-img size_this_image_test align-center" itemprop="associatedMedia" itemscope="" itemid="photo url" itemtype="http://schema.org/ImageObject" style="margin: 0px auto 15px; padding: 0px; border: 0px; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; vertical-align: baseline; overflow: hidden; color: rgb(255, 255, 255); float: none; max-width: 100%; width: 1000px;"><figcaption class="wp-caption-text wp-caption" style="margin: -1px 0px 0px; padding: 10px; border: 0px; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; vertical-align: baseline; zoom: 1; text-align: right; background: rgb(12, 12, 12);"> Kids arrive at the the new soccer complex at the Complexe environnemental St-Michel. PHIL CARPENTER /MONTREAL GAZETTE </figcaption></figure>The St-Michel soccer stadium has been criticized for its high price tag but Caille hailed it as an example of excellent design. The ecological building designed by Saucier & Perrotte has three glass walls overlooking a park in the St-Michel environmental complex. Caille said the stadium could be a catalyst for improvements in the hardscrabble north-end neighbourhood. During Tuesday’s panel discussion, Paul Goldberger, a Pulitzer Prize-winning former architecture critic for the New York Times and the New Yorker, said that unlike other types of journalists, architectural critics rarely have an immediate impact on public opinion. “Architectural criticism must take a very long view,” he said. “One learns to think of one’s influence as more gradual, as shifting tastes and judgment over time.” Goldberger, author of books including Why Architecture Matters, published in 2009, has written that the critic’s job is not to push for a particular architectural style, but rather to advocate for the best work possible. He said the time in his career when architectural criticism enjoyed greatest prominence was following Sept. 11, 2001, during discussions over the rebuilding of the World Trade Center. “It was a time when architectural criticism really was, I think, front and centre in the public discourse,” he said. “There it was so clear that an issue of architecture was intimately connected to significant world affairs and one did not have to struggle to help people understand the connection between architecture and the rest of the world,” said Goldberger, who now writes for Vanity Fair and teaches at The New School in New York. In a 2011 review of the new World Trade Center for the New Yorker, Goldberger said the design by architect Daniel Libeskind “struck a careful balance between commemorating the lives lost and reestablishing the life of the site itself.” The panel discussion followed the awarding of two $1,000 prizes to young writers for architectural writing on the topic of libraries. The winning entries by Marie-Pier Bourret-Lafleur and Kristen Smith will be published respectively in Argus and Canadian Architect magazines. mascot@montrealgazette.com Twitter.com/JMarianScott

http://montrealgazette.com/business/local-business/new-crew-moves-into-1920s-bank-building-in-old-montreal?__lsa=851c-06b2 sent via Tapatalk

Olymbec projette de démolir le petit édifice commercial au 6775 Décarie (coin Vézina, juste au sud du projet de l'usine Armstrong) pour le redévelopper, probablement en édifice à bureaux de 6 étages. http://www.lobby.gouv.qc.ca/servicespublic/consultation/AfficherInscription.aspx?NumeroInscription=FNzZnYCG0atmYLnL%2b93Rdw%3d%3d#D56150 Le site en question:

I have it from a very good source. My cousin who works for a major glass curtain wall company in Monteal was at my home last week and he gave me a scoop.The company is presently working on windows for the new additions at P.E.T. and apparently sometime in 2016 a new project to replace the 50 + year old windows on the main building will be launched. I am hoping that he is right. :shhh:

Un projet de 8 étages qui se trame pour le coin St-Marc / Sainte-Catherine http://www.lobby.gouv.qc.ca/servicespublic/consultation/AfficherInscription.aspx?NumeroInscription=AuLgd7373tZ2xfT9K5fg1Q%3d%3d#D53621 Le site:

(Courtesy of Montreal Gazette)

J'aime bien l'idée de rendre l'avenue des Canadiens piétonne. Ça fera un beau coin entre l'Avenue (le building, pas la rue!) et la tour des Canadiens.

Interesting series on PBS on Wednesdays at 22:00 http://www.pbs.org/program/super-skyscrapers/ About the Program As urban space shrinks, we build higher and faster than ever before, creating a new generation of skyscrapers. Super skyscrapers are pushing the limits of engineering, technology and design to become greener, stronger, smarter and more luxurious than their predecessors. This four-part series follows the creation of four extraordinary buildings, showcasing how they will revolutionize the way we live, work and protect ourselves from potential threats. Read more about each episode below. A Closer Look at Super Skyscrapers One World Trade Center Blink Films UK 1 / 12 About the Episodes One World Trade Center (Premiered February 5, 2014) One World Trade Center, the tallest building in the western hemisphere and a famous modern landmark, is engineered to be the safest and strongest skyscraper ever built. This episode follows the final year of exterior construction, culminating with the milestone of reaching the symbolic height of 1,776 feet. For head of construction Steve Plate, as well as scientists, engineers, ironworkers and curtain wall installers, this is a construction job suffused with the history of the site and a sense of duty to rebuild from the ashes of Ground Zero. Building the Future (Premiered February 12, 2014) Commonly known as “the cheese grater,” the Leadenhall Building is the pinnacle of London’s avant-garde architecture. Designed as a tapered tower with a steel exoskeleton, it’s the tallest skyscraper in the City of London and the most innovative. The teams behind the Leadenhall project had to radically rethink every aspect of the traditional building model. This program follows the monumental challenges that come with erecting this super skyscraper: it will be constructed off-site, delivered to location, and stacked and bolted together like a giant Lego set. The Vertical City (Premiered February 19, 2014) Shanghai Tower isn’t just a skyscraper — it’s a vertical city, a collection of businesses, services and hotels all in one place, fitting a population the size of Monaco into a footprint the size of a football field. Within its walls, residents can literally work, rest, play and relax in public parks, looking up through 12 stories of clear space. Not just one, however, but eight of them, stacked on top of each other, all the way to the 120th floor. When complete, the structure will dominate Shanghai’s skyline, towering over its neighbors as a testament to China’s economic success and the ambitions of the city’s wealthy elite. The Billionaire Building (Premiered February 26, 2014) Upon completion, One57, on Manhattan’s 57th Street, will rise more than 1,000 feet, making it the tallest residential tower in the western hemisphere and boasting spectacular views of Central Park. “One57” follows the teams tasked with creating New York’s most luxurious residential skyscraper and their ambition to redefine luxury living the big city. Condominiums at One57 showcase state-of-the-art interiors — double-height ceilings, full-floor apartments, bathrooms clad in the finest Italian marble and the finest material finishes. Super Skyscrapers was produced by Blink Films. sent via Tapatalk

The Bilbao Effect: is 'starchitecture' all it’s cracked up to be? Every struggling post-industrial city has the same idea: hire a star architect (like Frank Gehry) to design a branch of a famous museum (like the Guggenheim), and watch your city blossom with culture. After all, it worked for Bilbao ... didn’t it? Tomasz Kacprzak, chairman of the city council of Łódź, the third-biggest city in Poland, was telling me about the time he met David Lynch. “We went to his house in California,” Kacprzak said. “He loves Łódź. He wants to build us a cultural centre.” (Lynch’s plan for a 90-acre site comprising a film studio, cinema, gallery, offices and bar in an abandoned power plant in Łódź – the city that also inspired the cult director’s film Inland Empire – is expected to open in 2016.) “Actually,” Kacprzak continued, “Lynch’s house is not great. The interior. It is not modern.” “Oh, no,” I said. “Retro? Nineties?” “No,” Kacprzak said. “Eighties. Gehry’s house was much nicer.” “You went to Frank Gehry’s house, too?” This was interesting. We were standing in the soaring atrium of the Guggenheim Museum in Bilbao, designed by Gehry. Through the window, in the courtyard, you could make out the back of Jeff Koons’ huge, Edward Scissorhands-style plant sculpture, Puppy. “Yes,” Kacprzak said. “We asked for the Guggenheim in Łódź.” “You wanted Gehry to design a new museum?” “No,” Kacprzak said. “The same.” He swept his arm over the pine, glass and steel that curved above our heads. “You wanted him to build the exact same building?” “Yes,” Kacprzak said casually. “The same. But we would use it for a concert hall.” Much is made of the so-called ‘Bilbao effect’, the idea that attracting a world-class cultural institution – in Bilbao’s case, a branch of New York’s Guggenheim art museum – will put your city on the map, and in turn attract more investment, brands, tourism and cultural energy. This was the first time, however, that I’d heard someone say they wanted to copy Bilbao’s building exactly, swooping metal sheet for swooping metal sheet. “What did Gehry say?” I asked. “He said, ‘OK – but it will very expensive.’” Kacprzak shrugged. “We are a small city.” So, of course, was Bilbao 18 years ago when it rose to fame almost overnight. The fourth-largest city in Spain had lost its former glory as a manufacturing centre: its factories shuttered, its port decrepit. But after Spain joined the EU in 1986, Basque Country authorities embarked on an ambitious redevelopment programme for their biggest city. They drafted in expensive architects to design an airport (Santiago Calatrava), a metro system (Norman Foster), and a footbridge (Calatrava again), and in 1991 landed their biggest fish – the Solomon R Guggenheim Foundation, which decided to bring a new branch of the legendary Guggenheim Museum to the city, and hired star California architect Frank Gehry to build it. The building was an instant hit. Critics agreed Gehry’s deconstructed meringue of sweeping metal, which opened in 1997, was a work of “mercurial brilliance”. The collection inside, featuring art by Willem De Kooning, Mark Rothko, Anselm Kiefer and Richard Serra, was world-class. The construction even came in on budget, at $89m. What’s more, Bilbao now had a landmark. Visitor spending in the city jumped, recouping the building cost within three years. Five years after construction, Bilbao estimated that its economic impact on the local economy was worth €168m, and poured an additional €27m into Basque government tax coffers – the equivalent of adding 4,415 jobs. More than one million people annually now visit the museum, which became the centrepiece of the Bilbao Art District: a cluster composed of the maritime museum, the fine arts museum and the Sala Rekalde art centre. In 2010, French designer Philippe Starck completed his renovation of a former wine cellar to create the Alhondiga culture and leisure centre (recently rebranded as Azkuna Zentroa). And Zaha Hadid has presented radical plans to redevelop the neglected Zorrozaurre peninsula and turn it into a high-tech residential and cultural island. A struggling city, decimated by the decline of its manufacturing base, had seemingly reinvented itself by – of all things – betting big on culture. Other post-industrial cities noticed. When I told Kacprzak’s story to Maria Fernandez Sabau, a cultural and museum consultant for cities around the world, she sighed. “Yes, many of my clients say the same thing: give us the Guggenheim,” she said. “Often the exact same building! But you can’t just copy it.” Don’t tell that to Abu Dhabi. Possibly in an attempt to buttress itself against the day the oil runs out, the city is building a museum complex called Saadiyat Island, which will feature branches of not just the Guggenheim (again) but the Louvre as well. In Hong Kong, the West Kowloon Cultural District will be home to M+, a new museum of Chinese contemporary art. There are plans for new cultural hubs centred on museums in Mecca, in Tirana, in Belo Horizonte and in Perth, Australia. It’s the same in the UK: Dundee has drafted in Kengo Kuma to build a new V&A Museum of Design, while Liverpool and Margate have welcomed the Tate Liverpool (designed by James Stirling) and the Turner Contemporary (David Chipperfield). Every city, it seems, wants to create the next Bilbao-Guggenheim-Gehry vortex. Praise for this model reached its zenith last month, as mayors, cultural attachés and city representatives descended on Bilbao for the UCLG Cities and Culture Conference. Walking the streets with Kacprzak from Łódź, I could see what the delegates liked so much. The city centre is clean. There are lots of expensive retail shops. “El Fosterito”, the glass-tube metro entrances designed by Foster, are slick and futuristic. And the people seem disproportionately well-off. Presiding over it all, like a monolith of gentrification, is the Guggenheim. Yet despite this icon of culture, the city seems strangely quiet. Where are the local galleries, the music, the graffiti, the skateboarders? Spain’s difficulties with youth unemployment are well-documented, but I expected more twentysomethings in what is regularly billed as a cultural capital. Does the Guggenheim actually encourage creativity in the city, as advertised, or is it a Disneylandish castle on the hill with a fancy name and an expensive entrance fee for tourists and the well-heeled? Is the Bilbao effect to spread culture, or just to spread money? “The Guggenheim put our city on the map, no question. But you also can’t get anything support here unless it’s top-down,” says Manu Gómez-Álvarez, an animated man of around 40 wearing earrings and a black hoodie, who is the driving force behind ZAWP, the Zorrozaurre Art Working Progress, a cultural group based on the Bilbao peninsula that Zaha Hadid proposes to completely redevelop. ZAWP is precisely the kind of cultural organisation that gets praised in megacities like London and New York. It’s a decentralised collective of young artists, theatre-makers, musicians and designers, with co-making spaces in the old industrial buildings of Zorrozaurre and a thriving entrepreneurial atmosphere in their colourful, funky headquarters – which also house a bar, a cafe, a gig space and a theatre. Gómez-Álvarez is leading a movement he calls Meanwhile, which aims to use the still-derelict buildings of the peninsula as temporary sites for plays, gigs, artistic interventions or even just cafes. Every proposal, at every turn, gets the same answer back from the authorities: no. “There’s no support for grassroots culture,” he says. “We waited 20 years before we got any funding from the government at all.” Last year, he says ZAWP finally received a grant – but they still don’t get a permanent home in the new Zorrozaurre, and will almost certainly have to move again. It’s hard to imagine: ZAWP’s premises are huge, stretching through half a dozen buildings and decorated in amazingly elaborate detail. And yet “we are nomads”, says Gómez-Álvarez. I asked Igor de Quadra, who runs Karraskan Bilbao – a network of more than a dozen theatre groups, venues and creative organisations – what he thought of the Guggenheim’s effect. He struggled to frame his words carefully. “It is fine for what it is,” he said at last, “but it gets a lot of attention from people who are just passing through. Events like this [uCLG forum] take up a lot of attention, but don’t leave much behind for Bilbao culture. Frankly, we don’t think about the Guggenheim.” The Guggenheim certainly doesn’t claim to be in the business of fostering local culture, nor would you expect it to. The museum has some Basque art and occasionally runs cultural workshops, but it’s an international art museum, rather incongruously plonked down in northern Spain. (Extreme Basque nationalists didn’t take kindly to its arrival: the week before it opened, ETA killed a police officer in a foiled attempt to bomb the museum.) There are, of course, Basque cultural organisations in the city, such as Harrobia Bilbao, a performing arts group established in a former church in the Otxarkoaga area in 2011, but their presence feels surprisingly marginal in a city that is supposed to be at the heart of Basque culture. “In English Canada, culture’s nice to have – in French Canada, it’s crucial,” says Simon Brault, head of the Arts Council of Canada, talking about a similar dynamic between French-speaking Quebec and the rest of the country. Brault helmed what you might call an “anti-Bilbao effect” – a completely different type of culture-led regeneration in another struggling post-industrial city, Montreal. Brault helped found an open, non-hierarchical cultural network called Culture Montreal, which rather than speaking only to the Guggenheims and cultural superstars of the city, was open to everyday Montrealers – bar owners, teachers, musicians. “An artist just in from Chile would be at the same table as the head of Cirque du Soleil,” he says. The aim wasn’t to secure funding for massive projects, but to put culture at the heart of the city’s regeneration. It was controversial at first. “The cultural groups thought it was a distraction and that what the culture sector needed was more money,” he said. “But within a year, we got what cultural groups had been asking for for 20 years: a seat at the table.” Rather than championing culture only for an elite group of professionals – and asking for money just for the huge institutions – Culture Montreal was better received by city and provincial governments, says Brault. Their goals were less arrogant: to increase cultural access for Montrealers, and to include culture as part of the solution to any civic problems. They achieved this, Brault says, by making everyone feel as though culture was a daily part of everyone’s life, not something for a sophisticated few. “There is definitely room for starchitects, but it’s always better to tap into local culture rather than buy it from outside. You can’t do culture in a city without involving citizens,” he said. So, which is the better way for cities – bottom-up cultural movements or big-ticket splashes? “Of course, there will always be top-down decisions,” Brault said. “The key is to look for a middle ground.” Hadid’s billion-pound redevelopment of Zorrozaurre will be a test for that middle ground in Bilbao. Will its 6,000 new houses, two new technology centres and park genuinely engage with local culture, or will it simply be a flashy area for rich Spaniards looking for a waterfront property? The Bilbao effect might be famous, but it’s here that it could be truly tested. Those cities around the globe hoping a brand-name museum will save them should be watching carefully. “The Guggenheim Bilbao was a rare occurrence,” says museum consultant Maria Fernandez Sabau. “There was an incredible confluence of amazing, talented people. You had a museum that was hungry to expand, available land for cheap, a government with money, an architect itching to make a statement, and a city that desperately needed a new reason to exist. You can’t just buy that.” http://www.theguardian.com/cities/2015/apr/30/bilbao-effect-gehry-guggenheim-history-cities-50-buildings?CMP=twt_gu

http://montrealgazette.com/news/local-news/montreal-re-imagined/montreal-reimagined-cityscape-is-more-than-only-a-view The Montreal Re-Imagined section is presented by Concordia University Concordia University Montreal Reimagined: Cityscape is more than only a view MONTREAL, QUE.: April 02, 2015 -- Logo staff mugshot / headshot of Luca Barone in Montreal Thursday April 02, 2015. LUCA BARONE, SPECIAL TO MONTREAL GAZETTE Until I graduated, my daily hike up to McGill’s Faculty of Law on the corner of Peel St. and Dr. Penfield Ave. began at the corner of de Maisonneuve Blvd. W., where I would emerge into daylight from the métro station. Ascending into the world from the underground takes a little readjusting: you look around to get your bearings, check the weather, and let your eyes readjust to the sunlight. I was never afforded much to look at until I began walking north up Peel and glimpsed the mountain. The east-west view along de Maisonneuve is disappointing. Look left or right and the view is the same: dark towers pockmarked with windows rise up on the horizon. When a building obstructs a view down a street and becomes the focal point of what you see, it is known as a terminated vista. They can be a blessing and a curse. They also can help create a sense of destination and diversity in a city and can be manipulated to highlight significant landmarks. The view of McGill’s campus against the backdrop of Mount Royal from McGill College Ave. is one of Montreal’s iconic landscapes. Looking south down St. Urbain St., the view of the Art Deco waterfall of the Aldred Building on Place d’Armes is another example of a successful blocked view that beckons rather than repulses, as is the view of the dome of the Hôtel-Dieu looking north along Ste-Famille. These landmarks create a sense of place and they are symbols of our city. But look south down Parc Ave. toward Place du Parc (the Air Transat building) and the view is hardly inspiring. When the view down a street ends in a blank tower, the terminated vista does not help create a more livable city. Not every building should be monumental or iconic, but any urban building should make you want to walk toward it rather than avert your eyes. Downtown towers should be built because they have many virtues, from proximity to public transit to the lower environmental effect of higher population density, but we should not ignore how these buildings relate to their surroundings. Uniformity should not be the goal, either: a building should not have to look exactly like its neighbours, but it should complement them. Without exaggerating the importance of the look and shape of buildings, Montrealers deserve more than what we’re getting from urban planners, architects and real estate developers. We should trudge out of the métro and be delighted by what we see. In a city full of talented architects, much of the blame for uninspired buildings lies with real estate developers who don’t hire local talent, and city councillors and urban planners who give construction permits without paying sufficient attention to buildings’ visual impact. The Louis-Bohème building on the corner of Bleury and de Maisonneuve is an example of a building that succeeds on many levels. Its apartments make the best use of the land by increasing the density of residents in the area. It also has underground parking and shops at ground level, from where you can also access the Place-des-Arts métro station. In many ways, the building represents exactly the kind of development Montreal needs. But it fails as an element of the urban landscape. When you see it rising above Parc or de Maisonneuve, the view of its charcoal concrete panels leaves you unmoved at best and intimidated at worst. In a city that suffers from interminable winters exacerbated by short days and little sunlight, buildings clad in light-absorbing, dark materials are not merely ugly — they should be considered a public health concern. One way to improve urban design would be to develop a sustainable local architecture that is responsive to our climate. Initiatives like the Quartier des Spectacles’ Luminothérapie winter light installations are a great start, but the city should take a more active role in promoting architecture that makes long winters more bearable. For example, Edmonton has issued specific winter design guidelines that promote architectural features that block wind, maximize sunlight, and enliven the cityscape as part of its “WinterCity Strategy.” It is not easy for a building to enrich its surroundings while responding to the demands of a city and its inhabitants, the climate and the economy. But our buildings speak eloquently about who we are and what we value. We have to live with them for decades, if not centuries. It’s worth getting them right sent via Tapatalk

This is for the land currently owned by Provigo on the corner of de Maisonneuve and Claremont on the south east corner. There was a public consultation for residents and the following is the project: 30k square feet for grocery store (Provigo Urban concept) 10 apartments for families of kids who are staying at hospital Office space for Children's foundation 255 senior apartments for 55+ from le Groupe Maurice Not a very nice looking building! 10 story building Construction summer/fall 2015 Opening 2017-2018

http://www.architectmagazine.com/Architecture/the-best-and-worst-architectural-events-of-2014_o.aspx Voir le lien pour les images BEYOND BUILDINGS The Best and Worst Architectural Events of 2014 Aaron Betsky presents 10 lamentable moments and 10 reasons for hope in architecture. By Aaron Betsky New National Stadium, by Zaha Hadid Architects New National Stadium Tokyo, Japan Zaha Hadid Architects Everywhere this last year, we heard the call for a return to order, normalcy, the bland, and the fearful. Herewith are ten examples, in no particular order, of such disheartening events from 2014—and ten things that give me hope. Reasons to Despair 1. The demolition of the American Folk Art Museum in New York, by Tod Williams Billie Tsien Architects. Idiosyncratic both in layout and façade—and absolutely breathtaking. The MoMA monolith keeps inflating its mediocre spaces; I despair and wonder if Diller Scofidio + Renfro (DS+R) will be able to rescue it from almost a century of bad and too-big boxes 2. The defeat of Bjarke Ingels Group’s proposals for the Kimball Art Museum in Park City, Utah. The second proposal was already less exciting than the first, an award-winning, spiraling log cabin, but even the lifted-skirt box caused too many heart palpitations for the NIMBYists 3. The protests against Zaha Hadid’s Tokyo Olympic Stadium design, which left the building lumpen and unlovely. At this point, Arata Isozki is right: they should start over 4. The Guggenheim Helsinki Design Competition, leading to the selection of banal finalists 5. President Xi’s call for an end to “weird” architecture. What is truly weird is the amount of mass-produced boxes in which China is imprisoning its inhabitants and workers 6. Prince Charles’ recitation of the kind of architecture that makes him feel good. The ideas are very sensible, actually, but a beginning, not an end [Ed. note: The linked article may appear behind a paywall. Another reporting of Prince Charles' 10 design principles may be found here.] 7. Ground Zero. Actually, almost a farce since it was a tragedy that now has turned into just a dumb and numbing reality 8. The New York Times’ abandonment of serious criticism of architecture 9. The reduction of architecture to a catalog of building parts in the Venice Biennale’s Elements exhibition 10. A proposal from Peter Zumthor, Hon. FAIA, for a new LACMA building that looks as weird as all the other buildings proposed and built there, but is just a curved version of a pompous museum isolated from its site. It is a mark of our refusal to realize that sometimes reuse—of which LACMA’s recent history is an excellent example—is better than making monuments Credit: © Atelier Peter Zumthor & Partner Reasons for Hope 1. The addition to the Stedelijk Museum of Art in Amsterdam: a strangely beautiful and effective bathtub Stedelijk Museum, Amsterdam, by Benthem Crouwel Architekten. Stedelijk Museum, Amsterdam, by Benthem Crouwel Architekten. Credit: © Jannes Linders 2. The renovation of the Rijksmuseum in Amsterdam—though not its Louvre-wannabe entrance The ribbed, tiled vaults of the Museum Passageway beneath the Gallery of Honor were restored; arched windows overlook the renovated courtyards on either side. The ribbed, tiled vaults of the Museum Passageway beneath the Gallery of Honor were restored; arched windows overlook the renovated courtyards on either side. Credit: Pedro Pegenaute 3. The Philadelphia Museum of Art’s plan to go gloriously underground 4. The Smithsonian’s plan to do the same Aerial view of the South Mall Campus with proposed renovations. Aerial view of the South Mall Campus with proposed renovations. Credit: BIG/Smithsonian 5. The Belgian Pavilion exhibition at the Venice Biennale: looking reality in the eyes and making beauty out of it 6. Cliff Richards rollerskating through Milton Keynes in the same; ah, the joys of modernism 7. Ma Yansong’s proposal for the Lucas Museum in Chicago—especially after the horrible neo-classical proposal the same institution tried to foist on San Francisco; though this oozing octopus sure looks like it could use some refinement, or maybe a rock to hide part of it South view. South view. Credit: Lucas Museum of Narrative Art 8. The spread of bicycling sharing in cities like Barcelona and around the world, if for no other reason than that this way of movement gives us a completely different perspective on our urban environment 9. The spread of drones, ditto the above, plus they finally make real those helicopter fly-through videos architects have been devising for years 10. The emergence of tactical urbanism into the mainstream, as heralded by the MoMA exhibition Uneven Growth: Tactical Urbanisms for Expanding Megacities. I hope that shows the way for the next year Aaron Betsky is a regularly featured columnist whose stories appear on this website each week. His views and conclusions are not necessarily those of ARCHITECT magazine nor of the American Institute of Architects. sent via Tapatalk

Made you click Molson Coors relocating headquarters to 1801 California in downtown Denver Molly Armbrister Reporter- Denver Business Journal Molson Coors Brewing Co. will relocate its U.S. headquarters next year to Denver's second-tallest building: 1801 California. The company (NYSE: TAP) has leased 53,872 square feet in the 54-story tower at 1801 California St., which was purchased and upgraded by Brookfield Office Properties Inc. last year. Molson Coors will renovate the office areas, located on the 45th, 46th and part of the 47th floors, beginning in the spring. The company expects to inhabit the new space in fall 2015. Molson Coors' HQ is currently located at 1225 17th St. in Denver. It also has headquarters space in Montreal. "We are pleased to be moving to 1801 California, which will allow us to maintain our headquarters presence in vibrant downtown Denver," said Sam Walker, Molson Coors global chief people and legal officer. "This new location enables us to bring together our offices and employees under one roof and remain in the heart of Denver's thriving business community." 1801 California was formerly occupied entirely by Qwest Communications, but now CenturyLink Inc., which bought out Qwest, occupies about 30 percent of the building's 1.3 million square feet. Brookfield has been working to fill the building since completing its renovations on the property in February. "We're thrilled to have Molson Coors' U.S. headquarters making its home at 1801 California, said David Sternberg, executive vice president for the midwest and mountain regions for Brookfield. "1801 California is an ideal setting for Molson Coors — a landmark location for one of Colorado's iconic companies and one of the world's leading brewers," said Ted Harris, senior vice president at Cassidy Turley, one of the brokers on the transaction.

Square Dealing: Changes could be afoot at the iconic Westmount Square BY EVA FRIEDE, MONTREAL GAZETTE OCTOBER 10, 2014 2:16 PM Investor Olivier Leclerc outside Westmount Square, who has purchased 84 units in the complex for $70 million. Photograph by: John Mahoney , Montreal Gazette An investor has bought 84 rental units at Westmount Square for $70 million, and says that less than two months after the sale, he has already resold at least 48 of the apartments. Olivier Leclerc, 26, acting with real estate broker and adviser Albert Sayegh, bought the units at the iconic Mies van der Rohe buildings in August from Elad Canada, a division of the Israeli real estate multinational Tshuva Group. The deal means that Elad has sold all of the approximately 220 units in the two residential towers of Westmount Square. Now it is proposing to convert Tower 1, with 200,000 square feet of office space, to condos. But Westmount has slapped a freeze on all conversions from commercial or institutional buildings to residential use and is studying all development in its southeast commercial sector, from Atwater to Greene Avenues. The freeze is in effect until an interim bylaw is adopted and an update on the study is expected in November, said Westmount councillor Theodora Samiotis. Samiotis, who is the commissioner of urban planning for Westmount, said there are two concerns about such a conversion. First is Westmount Square’s heritage value as a Mies van der Rohe mixed commercial-residential project, completed in 1967. “On a heritage value, obviously we would want to make sure that any architectural aspect of the design would respect that,” she said. And there are those who would argue that changing the usage combination would change the architect’s vision, she said. The complex was conceived with three towers — two residential and one office — and an 86,000-square-foot shopping concourse. Equally important to Samiotis is the commercial vibrancy of the area. “So when you tell me you are changing a commercial tower to a residential tower, I am concerned about the impact this is going to have on my commercial district,” she said. Residential tax rates are lower than commercial rates, so the city also could lose revenue. “It’s not just the conversion of any building. It’s a landmark,” she said. They are very much aware of the proposal to convert the office tower, Sayegh said, but the file is currently closed. “If Tower 1 does occur, we will look at it,” he said. Elad Canada owns, operates or is developing such properties as New York’s Plaza Hotel, Emerald City in Toronto and in Montreal, the Cité Nature development near the Olympic Village and Le Nordelac in Point St-Charles. The 84 Westmount Square units were the remaining rental units in two of the towers. In a meeting at Sayegh’s real estate office — he is president of the commercial division of RE/MAX Du Cartier on Bernard St. W. — Leclerc said he bought the apartments in August as an investment, and resold them to various groups of investors, two of which bought about 12 apartments each. Leclerc would not specify how many of the apartments he intends to keep. It is a significant sale, probably the biggest of the year, said Patrice Ménard of Patrice Ménard Multi-Logement, which specializes in sales of multi-unit residential buildings. But it is not a record. By comparison, the La Cité complex of three buildings with more than 1,300 units sold for $172 million two years ago. Also in 2012, Elad sold the Olympic Village to Capreit Real Estate Investment Trust for about $176 million, Ménard said. Both La Cité and the Olympic Village remain rental properties, however. Both Sayegh and Leclerc emphasized that confidence in the economy was a basis for the Westmount Square purchase. The reselling was not a flip, but a long-term strategy, Sayegh said. “He has his own chess game,” Sayegh said. “The context was favourable to take hold of such a prestigious building — the political context,” Leclerc said. “The socio-economic climate in Quebec has never been as conducive to investments as it is today,” Sayegh added. Leclerc would not say what profit he has taken so far, nor what return he is expecting. “It’s a nice acquisition to my portfolio,” Leclerc said. He also owns or has converted buildings in Mont St-Hilaire and Brossard as well as Hampstead Court on Queen Mary, bought in 2011 and now all sold. Four years ago, Leclerc joined his father, Ghislain, in the business of converting rental buildings to co-operatives. Over 25 years, he and his father have converted more than 2,500 apartments, he said. His father is now semi-retired. With his father, he also worked on the conversion of the Gleneagles apartments on Côte des Neiges Rd., bought in 2010 and sold by 2013. “We do major work. We put the building in top shape,” Leclerc said. “Then we make esthetic improvements. After that, we sell the apartments. “We never throw out the tenants. We profit from the fact that the tenants are in place, who pay rent ‘x’ for an apartment in the state it is in. “We respect the rental laws.” Leclerc said he buys only good buildings in good locations. “The area reflects the tenants. Location, location, location.” At Westmount Square, the tenants are not affected, Leclerc said, as the same company, Cogir, manages the building. The range of price for the 84 apartments was $400,000 to $2 million. efriede@montrealgazette.com Twitter: @evitastyle

http://www.montrealgazette.com/business/Saputo+cent+stake+Life+building+reports/10195809/story.html Ivanhoe Cambridge, the real-estate arm of the Caisse de dépôt et placement du Québec, apparently has found a buyer for the 50 per cent stake in the Sun Life building that it put on the market earlier this year. Published reports Thursday identified the buyers as Montreal’s Saputo family and partners, and the transaction price at $140 million. The Caisse’s real-estate division reportedly acquired its stake for $64 million. Ivanhoe Cambridge has shared ownership of the Metcalfe St. building with insurer Sun Life since 2000. © Copyright © The Montreal Gazette

STANFORD PROPERTIES GROUP New multi-tenant office building - 52,764 square feet Pie IX Blvd, between Majeau and Larin, This project is replacing the old Mike's Restaurant on Pie IX. Sorry no Pics!!

When the Milan Expo opens next year, the centerpiece building will be a masterpiece of sustainable engineering. Designed around the idea of an urban forest, the new Palazzo Italia will generate its own electricity, and will be clad in materials specifically designed to clean the surrounding air. The designers, Nemesi & Partners, are using photocatalytic cement - basically, concrete that's been mixed with titanium oxide. When the building material comes into contact with ultraviolet light, the titanium oxide reacts with nitrogen dioxide in the air, converting the pollutant to a salt that can easily be washed away. The building will open in time for the Expo's launch next May, and we're already planning to book a trip over so that we can spend a day sniffing the air next to the building.

Proposed: Current: NOTE: This is a Karsten Rumpf project announced back in JUNE 2011 with little to no indication that any work started. Since he is currently active with the Bishop Court condo conversion, I figured this project would be worth posting here. But this thread probably belongs to "projects oublie" for now.

plannersweb.com/2014/02/walmart-stores-go-small-urban/ <header style="color: rgb(51, 51, 51); font-family: 'Minion W01 Regular', Times, serif; font-size: 15px; line-height: 21px;"> Taking a Closer Look Walmart Stores Go Small and Urban by Edward McMahon </header>Can big box retailers think outside the box? A few years ago the idea of a pedestrian friendly big box store would have been laughable, but as urban living has become more popular the major chain retailers are paying attention and beginning to build urban format stores. On December 4, 2013 Walmart opened its first two stores in Washington, DC and the new stores illustrate the lengths to which brick and mortar retailers will go to get into rapidly growing urban markets. Compared to the old “grey-blue battleship box” that has saturated suburban and small town America, the new urban Walmart on H Street, NW in Washington is a remarkable departure. <figure id="attachment_13030" class="thumbnail wp-caption aligncenter" style="padding: 0px; line-height: 20px; border: none; border-top-left-radius: 0px; border-top-right-radius: 0px; border-bottom-right-radius: 0px; border-bottom-left-radius: 0px; -webkit-box-shadow: none; box-shadow: none; -webkit-transition: all 0.2s ease-in-out; transition: all 0.2s ease-in-out; margin: 0px auto; width: 520px;"><figcaption class="caption wp-caption-text" style="font-style: italic; font-size: 14px; padding: 9px; color: rgb(85, 85, 85);">View of Walmart on H Street, NW in Washington, DC. Photo by Edward McMahon.</figcaption></figure> Whether you love them or loathe them, this building proves that Walmart — one of the most recognizable symbols of modern suburbia — is going urban. Who ever thought that Walmart shoppers could sleep upstairs and shop downstairs, but that is exactly what residents of the new Walmart near downtown Washington will be able to do. The 83,000 square ft. store built in partnership with JBG Rosenfeld is in a mixed use building topped by four stories of apartments. Instead of acres of asphalt, the parking is underground. In addition to the Walmart, there is another 10,000 square ft. of retail space wrapped around the outside of the retail giant. Retail tenants currently include a Starbucks and a bank, with more to follow. The residential portion of the building contains 303 apartments, a fitness center, a lounge area, a roof deck, and a swimming pool. <figure id="attachment_13034" class="thumbnail wp-caption aligncenter" style="padding: 0px; line-height: 20px; border: none; border-top-left-radius: 0px; border-top-right-radius: 0px; border-bottom-right-radius: 0px; border-bottom-left-radius: 0px; -webkit-box-shadow: none; box-shadow: none; -webkit-transition: all 0.2s ease-in-out; transition: all 0.2s ease-in-out; margin: 0px auto; width: 520px;"><figcaption class="caption wp-caption-text" style="font-style: italic; font-size: 14px; padding: 9px; color: rgb(85, 85, 85);">View of roof deck and pool on top of the H Street Walmart in Washington, DC. Photo courtesy of JBG Companies.</figcaption></figure>The main store entrance sits right on the sidewalk and shoppers will use an escalator to reach the store level. The store itself offers more groceries than a typical Walmart and the shopping floor is day lighted by real windows. Designed by MV+A Architects and the Preston Partnership, the H Street Walmart is a handsome urban building with traditional human scale details. It includes cornices, individual multi-pane windows, an interesting corner feature at the main entrance, and a separate entrance for residents. It is a fully urban, pedestrian friendly building. Whether you love them or loathe them, this building proves that Walmart — one of the most recognizable symbols of modern suburbia — is going urban. While the H Street store is by far the better of the two new urban Walmart’s in Washington, the other new store on Georgia Avenue, NW is also a significant departure from the typical suburban store design. Built on the site of an abandoned car dealership, the Georgia Avenue Walmart is a 102,000 square foot store on a four acre site. <figure id="attachment_13036" class="thumbnail wp-caption aligncenter" style="padding: 0px; line-height: 20px; border: none; border-top-left-radius: 0px; border-top-right-radius: 0px; border-bottom-right-radius: 0px; border-bottom-left-radius: 0px; -webkit-box-shadow: none; box-shadow: none; -webkit-transition: all 0.2s ease-in-out; transition: all 0.2s ease-in-out; margin: 0px auto; width: 520px;"><figcaption class="caption wp-caption-text" style="font-style: italic; font-size: 14px; padding: 9px; color: rgb(85, 85, 85);">View of the new Walmart on Georgia Avenue in Washington, DC. Photo by Edward McMahon.</figcaption></figure>Given the small size of the property, the only way to build a large store was to eliminate surface parking and bring the store right up to the sidewalk. The parking is located in a garage located directly below the store. While the building is not mixed use, it does greet the street and represent a real evolution for Walmart. The lesson here is that cities that want good design are going to have to demand it. In addition to the two stores that opened in December, 2013, Walmart has announced plans for four additional stores in Washington. Based on a review of their plans, some will be walkable, urban format stores, others will not. Dan Malouff, a design critic with the Greater Greater Washington blog, says that one will be unquestionably urban, one will be a hybrid, and two will be almost completely suburban. 1 The lesson here is that cities that want good design are going to have to demand it. <figure id="attachment_13042" class="thumbnail wp-caption aligncenter" style="padding: 0px; line-height: 20px; border: none; border-top-left-radius: 0px; border-top-right-radius: 0px; border-bottom-right-radius: 0px; border-bottom-left-radius: 0px; -webkit-box-shadow: none; box-shadow: none; -webkit-transition: all 0.2s ease-in-out; transition: all 0.2s ease-in-out; margin: 0px auto; width: 520px;"><figcaption class="caption wp-caption-text" style="font-style: italic; font-size: 14px; padding: 9px; color: rgb(85, 85, 85);">Design rendering of Walmart now under construction in Washington’s Fort Totten neighborhood. Graphic courtesy of JBG Companies.</figcaption></figure>Building an Urban Format Store Can Walmart build an urban format store? The answer appears to be yes, but it also appears that the only thing standard in an urban format big box store is its lack of standardization. Building suburban big box stores is simple. Buy a 20 acre suburban greenfield site. Build a large, free standing rectangular single floor building on a concrete slab. Plop the building in a sea of parking. A Walmart Supercenter in the suburbs of Atlanta, for example, is essentially identical to one in the suburbs of Chicago or Cincinnati. This model simply won’t work in a dense urban area. The two things that have kept Walmart out of cities were its inflexibility on design issues and opposition from labor unions and civic activists who oppose the company because of its low wages and negative impact on existing local businesses. Now that it appears that Walmart is willing (when pushed by local government) to adapt its stores to the urban environment, it is likely only a matter of time before the retail giant moves into cities all over the country. <figure id="attachment_13043" class="thumbnail wp-caption alignleft" style="padding: 0px; line-height: 20px; border: none; border-top-left-radius: 0px; border-top-right-radius: 0px; border-bottom-right-radius: 0px; border-bottom-left-radius: 0px; -webkit-box-shadow: none; box-shadow: none; -webkit-transition: all 0.2s ease-in-out; transition: all 0.2s ease-in-out; float: left; margin: 0px 10px 10px 0px; width: 320px;"><figcaption class="caption wp-caption-text" style="font-style: italic; font-size: 14px; padding: 9px; color: rgb(85, 85, 85);">Walmart Neighborhood Market in Chicago’s Loop. photo by Eric Allix Rogers, Flickr Creative Commons license.</figcaption></figure>Big Boxes are Getting Smaller Another thing that is clear is that big boxes are getting smaller. The new 80,000 square ft. Walmart in Washington is half the size of many suburban Supercenters. What’s more, Walmart is creating new formats uniquely designed for cities. The new Walmart Neighborhood Market, for example, is only 40,000 square feet while the so-called Walmart Express stores are only 15,000 square feet. Walmart has even opened two college stores, at Georgia Tech in Atlanta 2 and at the University of Arkansas in Fayetteville. 3 Each of these stores is less than 5000 square feet in size. [TABLE=class: tg, width: 475] <tbody>[TR] [TH=class: tg-acmm, bgcolor: #F1C40F]Store Type[/TH] [TH=class: tg-acmm, bgcolor: #F1C40F]Square Footage[/TH] [TH=class: tg-acmm, bgcolor: #F1C40F]Date Initiated[/TH] [/TR] [TR] [TD=class: tg-031e]Discount Store[/TD] [TD=class: tg-031e]106,000 sq. ft.[/TD] [TD=class: tg-031e]1962[/TD] [/TR] [TR] [TD=class: tg-031e]Supercenter[/TD] [TD=class: tg-031e]182,000 sq. ft.[/TD] [TD=class: tg-031e]1982[/TD] [/TR] [TR] [TD=class: tg-031e]Neighborhood Market[/TD] [TD=class: tg-031e]38,000 sq. ft.[/TD] [TD=class: tg-031e]1998[/TD] [/TR] [TR] [TD=class: tg-031e]Express Store[/TD] [TD=class: tg-031e]15,000 sq. ft.[/TD] [TD=class: tg-031e]2011[/TD] [/TR] [TR] [TD=class: tg-031e]College Store[/TD] [TD=class: tg-031e]Under 5,000 sq. ft.[/TD] [TD=class: tg-031e]2013[/TD] [/TR] </tbody>[/TABLE] Times have changed. The country’s largest retailers have oversaturated rural and suburban communities. The only place left with more spending power than stores is in our cities. Walmart has made its urban debut. The outstanding question remaining is: what impact will Walmart have on local economies and wages? Washington, DC, City Councilman Phil Mendelson, a co-sponsor of unsuccessful legislation that would have required big box retailers to pay a living wage and benefits, expressed skepticism about the impact of Walmart on the local economy. “I would say, having the world’s largest retailer interested in locating in the city where we’ve lost almost every other department store over the last four decades — that’s a good thing. Having an economic competitor who underprices the market and causes a descent to the bottom, in terms of wages — that is not a good thing.”4 While Walmart is clearly evolving to fit into cities, there is also evidence that the retail giant is willing to break the mold in smaller towns and suburbs. What About Smaller Towns & Suburbs? While Walmart is clearly evolving to fit into cities, there is also evidence that the retail giant is willing to break the mold in smaller towns and suburbs. This is because retail store size is shrinking due to the growth of internet shopping and also because suburbs are changing to stay competitive. Target, Whole Foods, Safeway, Giant, and other chains are already breaking the rules by building smaller footprint stores in multi-story buildings and mixed use developments. Walmart has recently opened several small town stores with parking under the building or with solar installations on the roof. What impact Walmart and other big box retailers will have on cities and the neighborhoods where they locate remains to be seen. Harriet Tregoning, the planning Director in Washington, DC, says that “Walmart does not offer any meaningful shopping experience. It competes solely on price and convenience.” 5Her message to small businesses is that “if you are in direct competition with Walmart you are in the wrong business to begin with.” Instead she says “businesses that offer something Walmart can’t like bars, restaurants and stores selling specialty goods or offering personalized levels of service — will continue to thrive.” In some ways, the idea of national chains opening big new urban stores is a return to the way things once were. In 1960, we called it department store. Today we call it a Walmart. Ed McMahon is one of the country’s most incisive analysts of planning and land use issues and trends. He holds the Charles Fraser Chair on Sustainable Development and is a Senior Resident Fellow at the Urban Land Institute in Washington, DC. McMahon is a frequent speaker at conferences on planning and land development. Over the past 21 years, we’ve been pleased to have published more than two dozen articles by McMahon in the Planning Commissioners Journal, and now on PlannersWeb.com. Notes: Dan Maloutt, “Walmart’s 6 DC stores: Some will be urban, some won’t” (Greater Greater Washington blog, April 26, 2012) ↩ Allison Brooks, “The world’s tiniest Walmart opens in Atlanta” (Atlanta Magazine, Aug. 14, 2013 ↩ Todd Gill, “Now open: Walmart on Campus” (Fayetteville Flyer, Jan. 14, 2011).↩ Ryan Holeywell, “Walmart Makes Its Urban Debut” (Governing Magazine, June 2012) ↩ Id. ↩

Sorry for the late-night shot. But it looks like we're getting a full restoration of this nice old building. Before:

Via Global News : Plans for Pointe-Claire eyesore in Valois Village By Amanda Kelly Global News MONTREAL – Pointe-Claire could soon be getting a long-awaited economic shot in the arm in the Valois district. Global News has learned there are three to four interested parities to buy an abandoned building on Donegani Avenue next to the Sources Boulevard overpass. RELATED: Residents want new mayor to initiate change in Pointe-Claire The restructuring company Richter has confirmed that both residential and commercial developers are involved in purchasing negotiations. No amounts are being released but Raymond Massi of Richter has confirmed that the numbers were significantly higher than the assessed value of more than $1.6 million. Richter has been appointed by the commercial division of the Quebec Superior Court to sell the property by the end of November. But Massi thinks a sale could occur within the next several months. POLL: Should Pointe-Claire’s Valois Village get a facelift? The building has been boarded up and abandoned for years. The mayor of Pointe-Claire wasn’t aware serious buyers had stepped forward but he’s thrilled with the news. “If somebody is interested in purchasing that property and they want to develop it we’re very happy,” Morris Trudeau said. “It would obviously help the area because it’s a depressed corner and it’s the window to Pointe-Claire when you arrive from the Montreal airport. To run into a building like that is just unacceptable.” © Shaw Media, 2014