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Architecture qui promet, selon le résultat final. http://www.constructionbeau-vain.com/projet-condos-neufs-montreal-mobilis-papineau.php

https://www.ledevoir.com/opinion/idees/549300/l-urgence-climatique-et-la-crise-de-l-architecture L’urgence climatique et la crise de l’architecture Antoine Mathys Architecte à L’Abri 7 mars 2019 Il ne passe plus une journée sans que les médias nous parlent d’urgence climatique ou de crise du réchauffement climatique, au point que ces mots semblent se vider de leur sens. C’est vrai, dans le fond, que ça fait bien au moins 50 ans qu’on en parle… Le problème, il me semble, est que ces mots ne s’inscrivent dans aucun récit qui fasse sens pour nous. Mais quel est le rôle de l’architecture dans cette crise ? Que dit-on à travers nos constructions qui représentent 46,8 milliards de dollars d’investissements au Québec ? Pour la majorité des gens, l’architecture s’est en grande partie enfermée dans une tour d’ivoire et ne semble plus être qu’un vaste cabinet de curiosités, où tout se vaut plus ou moins et se fond dans le tissu urbain. Au-delà de l’indifférence, une méfiance envers les architectes semble s’être développée dans certains milieux. La crise climatique est l’occasion de remettre notre rôle en question. Selon l’écrasant consensus scientifique relayé par le Pacte pour la transition, « il est technologiquement, humainement et économiquement possible de limiter le réchauffement de la planète. La solution passe par la volonté politique ». Or le gouvernement Couillard avait fixé comme objectif de parvenir à une réduction de 20 % des émissions de GES en 2020 et de 37,5 % en 2030, même si en 2016 ces émissions n’avaient reculé que de 9,1 % par rapport à celles de 1990. Et dire que le secteur du bâtiment au Québec représente 30 % de la consommation totale d’énergie et 12 % des émissions de GES ! Bien sûr, les architectes ne sont pas les uniques responsables de ce bilan, mais ne sommes-nous pas parmi les mieux placés pour voir à la réhabilitation du bâti existant et à ce que les nouvelles constructions contribuent à nos ambitions collectives en matière de lutte contre les changements climatiques ? Il est temps pour l’architecture d’entrer dans le XXIe siècle. Il est temps pour les architectes de se responsabiliser, et d’enfin travailler de concert avec les donneurs d’ouvrage, les ingénieurs, les universitaires, les constructeurs, les groupes communautaires et les citoyens usagers pour tenter de répondre de manière adéquate à l’urgence climatique. Aujourd’hui, plus que jamais, nous comprenons qu’un bâtiment n’est qu’une interface, une zone d’échanges que nous devons mieux contrôler pour protéger les écosystèmes naturels et humains dans lequel il s’intègre. Nous pensons encore nos bâtiments comme autant de petites frontières avec le monde, gagnées à grands coups de défrichage et d’extraction, au prix d’un immense gaspillage. Le plan d’action fédéral en matière de lutte contre les changements climatiques prévoit l’adoption d’un code énergétique, avec un objectif « prêt à la consommation énergétique nette zéro » pour les bâtiments neufs d’ici 2030, et l’atteinte de la carboneutralité d’ici 2050. Parallèlement, on entend souvent dire dans les cercles de construction que notre label écoénergétique québécois Novoclimat est le prochain code et que nous devrions tous minimalement construire selon ce programme. Le hic, c’est que le prochain code, c’est demain ! Littéralement l’année prochaine. Est-ce réaliste de penser atteindre notre objectif de carboneutralité avec de si faibles mesures ? Peut-on réellement se contenter de construire en faisant (un peu) moins (de) mal qu’un bâtiment construit selon le code actuel ? Une nouvelle génération d’architectes préconise une approche intégrée à la conception architecturale qui ne peut être sortie du contexte de l’horizon de la carboneutralité. Et cette approche a déjà près de trente ans ! C’est le label d’efficacité énergétique international bâtiment passif. Il représente ce qui se fait de mieux pour l’atteinte d’une réelle efficacité énergétique, unique voie responsable vers des bâtiments à consommation « nette zéro ». La beauté de la norme passive est qu’elle commande des réponses hautement créatives et s’appuie sur une approche collaborative de la conception à la réalisation. Même les détracteurs de l’adoption du standard passif au Québec admettent que les surcoûts liés à ce type de constructions diminuent radicalement dès la deuxième itération, passant de 30 % à parfois 15, voire 10 % de surcoûts par rapport à une construction standard. Faire les choses la première fois et à petite échelle va toujours coûter plus cher, mais ce n’est pas une raison pour jeter l’éponge ! Dans le domaine de la construction, comme dans les autres secteurs clés de l’économie — l’énergie, les transports, l’agriculture —, les « petits pas » sont non seulement inutiles, mais carrément contre-productifs. Des dizaines de bâtiments passifs ont déjà été construits au Québec, dont deux sont certifiés. Nous nous devons aujourd’hui de rénover et de construire enfin à la mesure de nos connaissances si nous voulons avoir la moindre chance de dévier de notre trajectoire suicidaire. Construire mieux, c’est aussi innover dans notre manière de vivre — toujours chercher à tisser des liens plus riches entre l’humain et son environnement, et inventer des formes nouvelles de cohabitation. N’est-ce pas précisément le rôle que devrait jouer l’architecte dans la société ? L’adoption à grande échelle de la norme passive est l’occasion pour l’architecture de reprendre sa place parmi les grands enjeux de société et de sortir enfin la création architecturale de sa tour d’ivoire pour l’ancrer dans l’urgence de notre époque. ---------------------------------------------------------------------------------- Chronique de Marc-André Carignan à ce sujet https://ici.radio-canada.ca/premiere/emissions/le-15-18/segments/chronique/109006/architecture-batiments-vert-environnement-maison-developpement-durable À quand des bâtiments écologiques (pour vrai)? PUBLIÉ LE JEUDI 7 MARS 2019 Le chroniqueur et architecte Marc-André Carignan se demande quand le Québec prendra un véritable virage écologique dans son secteur immobilier. Il déplore que l'on parle beaucoup d'environnement dans le milieu du bâtiment, mais que peu de gestes concrets soient posés. Depuis les dernières années, on voit de plus en plus de projets à caractère écologique, observe Marc-André Carignan. Mais en réalité, souvent, ce n’est qu’un vernis, soutient-il. Il précise que moins de 5 % des bâtiments sont certifiés écologiques au Québec. Le chroniqueur déplore que l'environnement soit trop souvent mis de côté au moment de concevoir un projet architectural. Il donne l’exemple de la place Ville-Marie, à Montréal, qui a annoncé l’aménagement d’une toute nouvelle aire de restauration dotée d’un toit en verre, sans prendre en considération les pertes de chaleur que cela va engendrer. J’ai même parlé à des architectes qui ont travaillé sur ce projet qui m’ont dit qu’ils étaient gênés de présenter ça au public, mais que c’était ce que leur client voulait, raconte-t-il. Marc-André Carignan fait remarquer que les obstacles sont nombreux à l’adoption de techniques de construction plus écologiques. Non seulement il est toujours difficile de changer les habitudes dans ce milieu, puisque le changement représente un risque, mais certains promoteurs craignent aussi de se lancer dans la construction verte, car ils n’ont pas d’expertise dans ce domaine. Marc-André Carignan s’est d’ailleurs fait dire par un promoteur que son premier projet certifié LEED l’avait plongé dans le rouge. Le chroniqueur mentionne que les bâtiments écologiques coûtent entre 10 % et 12 % de plus à construire, mais qu'il est généralement possible de rentabiliser cet investissement à long terme grâce aux économies d’énergie. Dans le secteur public, comme les écoles, on devrait assumer ce coût supplémentaire parce qu’on n’a pas la pression d’entrer tout de suite dans notre investissement, pense Marc-André Carignan. Il insiste sur le fait que pour entreprendre un véritable virage, tout le monde doit revoir son approche : les architectes, les clients, les promoteurs, mais aussi le gouvernement, qui peut élever les standards du code du bâtiment.

https://saportareport.com/tim-keane-to-atlanta-no-more-ugly-buildings-focus-on-quality-design/ Tim Keane to Atlanta: No more ugly buildings; focus on quality design December 17, 2018, 3:40 pm/24 Comments By Maria Saporta When it comes to urban design, it’s a new day for Atlanta. Atlanta’s Planning Commissioner Tim Keane wants our developers and architects to step up their game. And he’s willing to hold up their projects if they don’t live up to higher quality design standards. Planners Tim Keane and Terri Lee look over the watercolor depiction of how Atlanta can grow and retain its beauty (Photo by Maria Saporta) Already the developers of three high profile projects have revised their plans to accommodate the city by improving the plans for their developments. For Keane, this is not a job; it’s a mission to create greater awareness of the importance of quality design on our urban environment. “People in Atlanta don’t value design,” Keane said in a recent interview. “It’s a huge problem. I feel like people here think design is frivolous. But it is fundamental to making a better life for people.” Keane moved to Atlanta nearly three years ago after serving as the planning commissioner for the City of Charleston, S.C. “It was a big change for me coming from Charleston where design was seen as contributing to a better life for residents. We cared about every detail,” Keane said. “In Charleston, there was a three-step design review process to get a building approved. It was too much. Charleston was so over the top, but Atlanta is on the opposite end of the spectrum.” So Keane is changing Atlanta’s laissez-faire approach and emerged as a good cop (or bad cop) insisting on quality design for projects that land on his desk. “I have started to say: ‘You can’t build that. You can’t build insulting buildings in Atlanta anymore,’” Keane said. “This is not about architecture and architectural awards. It is more how architecture contributes to a better public realm.” Initial design for the 445 Marietta St. building (Special: City of Atlanta) The revised design for a building at 445 Marietta St. Notice how the building incorporates an historic building in the lower right corner (Special: City of Atlanta) It is his attempt to stop the development of “Mr. Potatohead” buildings – structures where architects add different design features to try to make an ugly building better. Keane would rather architects start out with a simple building design with high quality materials and amenities. As the law currently stands, the city of Atlanta would have a hard time enforcing a design standard. And Keane acknowledges the city is not authorized to mandate good design. But he has told developers that the city won’t approve a project unless they change the architecture. Developers could take the city to court, but that would cost time and money. So far, developers have been willing to work with the city to redesign their buildings in order to get the project moving. Eventually, Keane hopes developers will know to incorporate quality design principles before they bring their proposals to the city. “The main point is that design is not a frivolous endeavor,” Keane said. “It is integral to a city’s development.” Keane did acknowledge that quality design can be in the eyes of the beholder – and he is not advocating for classical or modern design. “We are going to be advocates for a better public realm,” Keane said. “It’s how a building meets the street. It has to have good proportions with quality materials. It should have a balanced window to wall ratio that fit in with the overall composition of the building. “Everything has to be done well – designed well – no matter what your style is,” Keane said. “I’m interested in contemporary architecture, but it has to achieve the basics of good design in order to be built.” One area where Keane does not have a lot of room for compromise is historic preservation. “I think Atlanta has enough old buildings that if we save them, we still have enough fabric to build around them and make a distinct city,” Keane said. “What we are struggling with is the quality of the new buildings that fall around the historic buildings. So far we haven’t been able to build to consistent design quality buildings that stand up to the test of time.” 640 Peachtree St. – initial design for the hotel at the important Ponce de Leon Avenue intersection (Special: City of Atlanta) Revised design for 640 Peachtree St. hotel project (Special: the City of Atlanta) Historically, Atlanta has let zoning laws regulate urban development (the city has been revamping its zoning ordinances with several new rules passing the Zoning Review Board on Dec. 13). “This is about the city taking responsibility or the quality of architecture in Atlanta. The city has relied on zoning, but zoning doesn’t make good buildings,” Keane said “Only design can do that.” The city has started having internal discussions about developing a design process that will lead to better architecture. It is working on how best to involve the Atlanta Urban Design Commission as well as the development review committees within certain community improvement areas. Keane said he hopes to have a new process adopted within the next year. “All of that needs to be up for refinement,” Keane said. “The saving of old buildings is job No. 1. We can never replicate the design of our old buildings.” So far, Keane has been a successful good design cop – especially with the three developments where he was able to influence the ultimate design. “In every one of these cases, the developers have been thrilled with the process,” Keane said. “What they got was so much better.” It’s only been a little more than three years since Keane came to Atlanta – and he can best be described as a change agent. He worked with Ryan Gravel to have the city adopt the Atlanta City Design Project – which outlined ways the city could increase its population while improving its quality of life. He has been working on a host of institutional changes – the zoning ordinance, a new tree ordinance, an urban ecology framework plan, a more pedestrian-oriented transportation plan and now better design standards. In Keane’s mind, we can’t look at the city in silos. We need to integrate all the various urban amenities so they create a balanced, equitable city that respects our unique history and location. That includes affordability, transit, accessibility, quality design, historic preservation, protection of high value trees as well as making sure residents have ample opportunities to be involved in the evolution of Atlanta. 524 West Peachtree at Baltimore Row. The image shows the initial plans on the left and the revised design on the right (Special: City of Atlanta) This is one of my favorite examples of a modern building respecting the historic fabric of its neighbor: Photo shows the addition to the Boston Public Library that opened in 1972. The addition was designed by architect Philip Johnson, who used design motifs from the historic library (Special: Boston Library)

Nom: M9, phase 4 Hauteur: 18 étages + Sky Lounge Coût du projet: Promoteur: DevMcGill Architecte: Sid Lee architecture Emplacement: Duke/Wellington Début de construction: Fin de construction: Site internet: http://www.devmcgill.com/

J'ai cru rêvé en entendant la présidente de la CSDM Catherie Harel-Bourdon dire qu'elle allait présenter une résolution ce soir au conseil des commissaires pour permettre des concours d'architecture dans la construction et l'agrandissement des écoles!! ? Elle était en entrevue avec Annie Desrochers cet arpès-midi à ce sujet : Résolution de la CSDM pour permettre des concours d'architecture pour les écoles https://ici.radio-canada.ca/premiere/emissions/le-15-18/episodes/407799/audio-fil-du-mercredi-23-mai-2018/3 L'architecture Pierre Thibault a souvent dit que son rêve était de construire une école, mais qu'il ne pouvait parce qu'il en avait jamais fait avant.. Cet article du Journal de Montréal a bien résumé ses propos recueillis lors d'une entrevue avec Infoman : http://www.journaldemontreal.com/2015/04/05/a-quand-une-ecole-pierre-thibault « La question qu’Infoman a posée à Pierre Thibault : À quand une école construite par lui au Québec? Sa réponse : « Cela est Impossible parce que pour avoir le droit de construire une école, il faut déjà en avoir construit une avant. » Et vous savez quoi, une école construite d’après des dessins d’architecte ne coute que 1% plus cher. »

La SAQ Signature située dans le Complexe Les Ailes déménagera sur la rue de la Montagne. Images : Sid Lee Architecture Le design de la SAQ Signature de Québec est vraiment bien!

Architecture de qualité !!! J'aime ! Site actuel Street View : http://maps.google.ca/maps?q=2365+saint-patrick,+montr%C3%A9al&hl=fr&ie=UTF8&ll=45.481795,-73.569011&spn=0.01005,0.022724&safe=off&hnear=2365+Rue+Saint+Patrick,+Montr%C3%A9al,+Communaut%C3%A9-Urbaine-de-Montr%C3%A9al,+Qu%C3%A9bec+H3K+1B4&gl=ca&t=h&z=16&layer=c&cbll=45.481795,-73.569011&panoid=j-C-35jG8-wN6UtYa2dOdQ&cbp=12,328.39,,0,4.97 Site actuel Bird Eye View : http://www.bing.com/maps/?v=2&cp=rkdbsx8w28hz&lvl=18.31&dir=90.13&sty=b&nwyw=1&ss=yp.rue%20saint-patrick%2C%20montr%C3%A9al&form=LMLTCC http://www.mystsurlecanal.com *click to enlarge* *click to enlarge* *click to enlarge* *click to enlarge* Architectes : http://ateliercba.com/

** Note aux modérateurs: je ne souhaite en aucun cas enfreindre les règles du forum, je partage un évènement que j'organise ici ** Bonjour à tous, Je participe depuis quelques années au forum, que je lis à tous les jours avec beaucoup de plaisir! Je fais partie du comité organisateur du concours d'idées Morphopolis, et nous organisons une édition en 2017 sous le thème du transport en commun à Montréal. Le thème explore toutes les facettes des lieux du transport, de l'échelle de l'objet à la planification générale des modèles de transport à Montréal. La fin des inscription est le vendredi 17 mars @ 23h00, et les prohets doivent être remis le 22 mars. Nous demandons 1 panneau format A2 (orientation portrait, 420mm x 594mm), sous la forme d'image et de croquis. Nous souhaitons surtout dégager des idées, des tendances en aménagement, ou encore des projets audacieux pour redorer l'image du transport en commun. *Tous les détails sont sur notre site morphopolis et sur notre Facebook (Morph.o.polis Montréal).* Nous avons cette année un jury très dynamque, composé de: - François Cardinal, rédacteur en chef de La Presse - Catherine Demers, Architecte Associée, Jodoin Lamarre Pratte Architectes Inc. (chargée de projet pour les projets à l'Aéroport Montréal-Trudeau) - Josée Bérubé, architecte, Provencher_Roy, présidente du CA de l'ARTM - Jonathan Cha, architecte paysagiste, urbanologue, phD en aménagement - Valérie Mahaut, professeure titulaire à l'Université de Montréal. Nous présentons également des conférences la semaine prochaines à la Faculté de l'Aménagement (2940 chemin de la Côte-Sainte-Catherine), amphithéâtre 3110: - Mardi 14 mars @ 18h00 : Zvi Leve, Rue Publique, "Les rues comme lieux de transit" - Jeudi 16 mars @ 18h00 : Maxime Frappier, ACDF* Architecture, "Architecture et Mouvement" Je sais que certains d'entre-vous avez participé l'année dernière et que certains projets ont été relayés ici. Je me permets de faire la promotion de mon évènement avec vous parce que je sais qu'il saura vous rejoindre en tant que passionnés de Montréal. Je serais très content de voir une équipe MTLURB, ou d'autres contributions à titre personnel! Il y a 2000$ à gagner en prix, dont 1 grand prix de 1000$. Vous pouvez me contacter en message privé, ou encore nous envoyer un courriel pour toute question ou inscription. Merci, et bonne chance aux futurs participants!! Simon Tremblay Responsable du jury Morphopolis 2017

Le Devoir 1 avril 2017 | Jean-François Nadeau | Montréal http://www.ledevoir.com/politique/montreal/495380/le-patrimoine-de-la-rue-saint-antoine-menace

Article intéressant dans le NYMAG : The Psychological Cost of Boring Buildings By Jacoba Urist April 12, 2016 10:56 a.m. <cite class="credit">Photo: Philip Laurell/Getty Images </cite>New Yorkers have long bemoaned their city being overrun by bland office towers and chain stores: Soon, it seems, every corner will either be a bank, a Walgreens, or a Starbucks. And there is indeed evidence that all cities are starting to look the same, which can hurt local growth and wages. But there could be more than an economic or nostalgic price to impersonal retail and high-rise construction: Boring architecture may take an emotional toll on the people forced to live in and around it. A growing body of research in cognitive science illuminates the physical and mental toll bland cityscapes exact on residents. Generally, these researchers argue that humans are healthier when they live among variety — a cacophony of bars, bodegas, and independent shops — or work in well-designed, unique spaces, rather than unattractive, generic ones. In their book, Cognitive Architecture: Designing for How We Respond to the Built Environment, Tufts urban policy professor Justin Hollander and architect Ann Sussman review scientific data to help architects and urban planners understand how, exactly, we respond to our built surroundings. People, they argue, function best in intricate settings and crave variety, not “big, blank, boxy buildings.” Indeed, that’s what Colin Ellard, a neuroscientist at the University of Waterloo and director of its Urban Realities Laboratory, has found in his own work. Five years ago, Ellard became interested in a particular building on East Houston Street — the gigantic Whole Foods “plopped into” a notoriously textured part of lower Manhattan. As described in his book, titled Places of the Heart: The Psychogeography of Everyday Life, Ellard partnered with the Guggenheim Museum’s urban think tank to analyze what happens when someone “turns out of a tiny, historic [knish] restaurant” and encounters a full city block with nothing but “the long, blank façade of the Whole Foods Market.” The Whole Foods on Houston. In 2011, Ellard led small groups on carefully planned Lower East Side walks to measure the effect of the urban environment on their bodies and minds. Participants recorded their response to questions at each stopping point and wore sensors that measured skin conductance, an electrodermal response to emotional excitement. Passing the monolithic Whole Foods, people’s state of arousal reached a nadir in Ellard’s project. Physiologically, he explained, they were bored. In their descriptions of this particular place, they used words like bland, monotonous, and passionless. In contrast, one block east of the Whole Foods on East Houston, at the other test site — a “lively sea of restaurants with lots of open doors and windows” — people’s bracelets measured high levels of physical excitement, and they listed words like lively, busy, and socializing. “The holy grail in urban design is to produce some kind of novelty or change every few seconds,” Ellard said. “Otherwise, we become cognitively disengaged.” The Whole Foods may have gentrified the neighborhood with more high-quality organic groceries, but the building itself stifled people. Its architecture blah-ness made their minds and bodies go meh. And studies show that feeling meh can be more than a passing nuisance. For instance, psychologists Colleen Merrifield and James Danckert’s work suggests that even small doses of boredom can generate stress. People in their experiment watched three videos — one boring, one sad, and one interesting – while wearing electrodes to measure their physiological responses. Boredom, surprisingly, increased people’s heart rate and cortisol level more than sadness. Now take their findings and imagine the cumulative effects of living or working in the same oppressively dull environs day after day, said Ellard. There might even be a potential link between mind-numbing places and attention deficit hyperactivity disorders. In one case, physicians have linked “environmental deprivation” to ADHD in children. Homes without toys, art, or other stimuli were a significant predictor of ADHD symptoms.Meanwhile, the prevalence of U.S. adults treated for attention deficit is rising. And while people may generally be hardwired for variety, Dr. Richard Friedman, director of the pharmacology clinic at Weill Cornell Medical College, makes the case that those with ADHD are especially novelty-seeking. Friedman points to a patient who “treated” his ADHD by changing his workday from one that was highly routine — a standard desk job — to a start-up, which has him “on the road, constantly changing environments.” Most ADD is the result of biological factors, said Dr. Edward Hallowell, a psychiatrist who specializes in ADHD, and co-authored numerous books on the subject, such as Delivered From Distraction: Getting the Most Out of Life With Attention Deficit Disorder. But, he explained, he sees a lot of socially induced ADD, too, a form of the disorder that makes it appear as though you inherited the genes, although you really haven’t. And one way you might have the socially induced condition, according to Hallowell, is to suffer severe boredom or live in a highly nonstimulating environment. “It makes total sense that for these people changing where they work or live to add more visual stimulation and daily variety could be extremely helpful,” Hallowell said. At the same time, many adults may feel they have ADHD because the world has become hypersaturated with constant texts, emails, and input. For them, life has become too adrenalizing. “They don’t have true ADHD,” Hallowell said, “but, rather, what I call a severe case of modern life.” So the trick, it seems, is to design a world that excites but doesn’t overly assault our faculties with a constant barrage of information: Scientists aren’t proposing that all cities look like the Vegas strip or Times Square. “We are, as animals, programmed to respond to thrill,” said professor Brendan Walker, a former aerospace engineer and author of Taxonomy of Thrill and Thrilling Designs. In Walker’s University of Nottingham “thrill laboratory,” devices gauge heart rate and skin conductance to see how people respond to adrenaline-producing experiences such as a roller-coaster ride. And he’s reduced “thrill” to a set of multivariable equations that illustrate the importance of rapid variation in our lives: A thrilling encounter moves us quickly from a state of equilibrium to a kind of desirable “disorientation,” like the moment before you rush down the hill of a roller coaster. “Humans want a certain element of turmoil or confusion,” he said. “Complexity is thrilling whether in an amusement park or architecture.” Environmental thrill and visual variety, Walker believes, help people’s psyche. As many of us instinctively feel a wave of ennui at the thought of working all day in a maze of soulless, white cubicles, blocks of generic buildings stub our senses. It’s not only that we’re genetic adrenaline junkies. Psychologists have found that jaw-dropping or awe-inspiring moments — picture the exhilarating view of the Grand Canyon or Paris from the Eiffel tower — can potentially improve our 21st-century well-being. One study showed that the feeling of awe can make people more patient, less materialistic, and more willing to help others. In an experiment, researchers showed students 60-second clips of waterfalls, whales, or astronauts in space. After only a minute of virtual images, those who said they were awed also felt less pressed for time. In a second experiment, individuals recalled “an awe-inspiring” event and then answered a range of survey questions; they were also more likely to say they’d volunteer for a charity, as compared to those who hadn’t spent time thinking about a past moment of awe. And in yet another variation, people made hypothetical choices between material and experiential goods of equal monetary value: a watchor a Broadway show, a jacket or a restaurant meal. Those who recently “felt awe” were more likely to choose an experience over a physical possession, a choice that is linked with greater satisfaction in the long run. In other words, a visual buzz — whether architectural or natural — might have the ability to change our frame of mind, making modern-day life more satisfying and interactive. It’s important to note, however, that architectural boredom isn’t about how pristine a street is. People often confuse successful architecture with whether an area looks pleasant. On the contrary, when it comes to city buildings, people often focus too narrowly on aesthetics, said Charles Montgomery, author of Happy City: Transforming Our Through Urban Design. But good design is really is about “shaping emotional infrastructure.” Some of the happiest blocks in New York City, he argues, are “kind of ugly and messy.” For instance, Ellard’s “happier” East Houston block is a “jumbled-up, social one”— the Whole Foods stretch, in comparison, is newer and more manicured. Sometimes what’s best for us, Montgomery explained, just isn’t that pretty. His research also shows cacophonous blocks may make people kinder to each other. In 2014, Montgomery’s Happy City lab conducted a Seattle experiment in which he found a strong correlation between messier blocks and pro-social behavior. Montgomery sent researchers, posing as lost tourists, to places he coded as either “active façades” — with a high level of visual interest — or “inactive façades” (like long warehouse blocks). Pedestrians at active sites were nearly five times more likely to offer help than at inactive ones. Of those who helped, seven times as many at the active site offered use of their phone; four times as many offered to lead the “lost tourist” to their destination. Fortunately, it’s not necessarily a dichotomy — new architecture can achieve the optimal level of cacophony and beauty. Take the 2006 Hearst Tower in midtown Manhattan. From the outside, the façade is likely to jolt city dwellers — if anything will — from their daily commutes, while “thrilling” employees who enter it each morning. Designed by Pritzker Architecture Prize–winning architect Norman Foster, Hearst Tower is a glass-and-steel skyscraper, 40 stories of which are designed in a triangular pattern contrasting the 1920s Art Deco base. For many who walk by, Hearst Tower’s design may not be the easiest to understand; it’s both sleek and old. The top looks like it traveled from the future. Inside, workers travel upon diagonal escalators, up a three-story water sculpture, through the tower’s historic atrium” flooded with light. It’s not the view from the Eiffel Tower or the Grand Canyon, but it’s probably as close a modern lobby can come to awe-inspiring. Few New Yorkers who pass by would find this building boring. And they’re likely happier — maybe even nicer to each other — because of it. <cite class="credit"></cite>

Montreal, March 21st, 2012 - Ivanhoé Cambridge has selected Sid Lee Architecture, in collaboration with Sid Lee, to re-envision the Rockhill multi-residential complex, located in Montreal. "We are thrilled for the chance to work with Ivanhoé Cambridge Residential on the new Rockhill. This complex is part of Montreal's urban landscape and taking part in its revitalization is an honour for us," explains Jean Pelland, architect and senior partner. "This partnership with Ivanhoé Cambridge will allow Sid Lee Architecture to bring a fresh perspective to a building that has left its mark on Montreal." The idea is to breathe new life into the apartments and into this six-building complex, located at the foot of Mount Royal and 10 minutes from downtown Montreal. For Sylvain Fortier, president of the residential entity of Ivanhoé Cambridge, Sid Lee Architecture's approach really shines a spotlight on the Rockhill as a whole, with architecture being integrated not only into the infrastructure, but also the branding. Their ventures in residential real estate, urban development and retail are proof of their expertise and we believe that they are the best professionals for the project. In order to relive its glory days of the 1960s, the Rockhill, a multi-residential rental complex, will undergo a modernization, both architecturally speaking and in terms of branding, thanks to the teams at Sid Lee Architecture and Sid Lee. Due to its expertise in the fields of urban, architectural and interior design, Sid Lee Architecture was selected to re-envision the complex. The two teams will also be responsible for producing the strategy behind the new Rockhill, in line with Ivanhoé Cambridge Residential's vision of offering quality multi-residential housing in up-and-coming neighbourhoods boasting interesting perspectives. The Rockhill is located in Montreal's Côte-des-Neiges neighbourhood and comprises six rental buildings, over a thousand apartments and a small shopping mall. Built in the 1960s, it was Ivanhoé Cambridge's first multi-residential acquisition in Quebec. About Sid Lee Architecture – http://www.sidleearchitecture.com Founded in 2009 following the integration of architecture firm NOMADE (founded in 1999), Sid Lee Architecture is a partnership between seasoned architects and urban designers Jean Pelland and Martin Leblanc, and Sid Lee, a global commercial creativity company. Established in Montreal, with satellite offices in Amsterdam (Netherlands) and Paris (France), Sid Lee Architecture boasts a team of 25 architects, technicians, designers, managers and support personnel. This multidisciplinary team enjoys a solid reputation, having successfully carried out many large-scale projects. Sharing common views on interior design, brand strategy, urban approach, and the role of context, the Sid Lee Architecture team has had the opportunity to put its knowledge and expertise to work, successfully completing a wide range of multidisciplinary projects. About Sid Lee – http://www.sidlee.com We are a multidisciplinary creative team of 600 artisans of many persuasions. We work globally for top-tier clients from our Montréal, Amsterdam, Paris, Toronto and Austin ateliers. We are people passionate about embedding brands, products, spaces and services with meaning and resonance. Find us on Facebook: http://www.facebook.com/meetsidlee Follow us on Twitter: http://www.twitter.com/sidlee Credits Client: Ivanhoé-Cambridge Architecture: Sid Lee Architecture Branding: Sid Lee Interviews available upon request

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

Le St-Vincent… Projet de condominiums situé sur un bord de l’eau au 4536, Boul. Lévesque Est à Laval. Offrez-vous une qualité de vie d’un style dynamique et moderne sans pareil. Gâtez-vous avec un gym intérieur, salle de réception, piscine creusée à l’extérieur, et plus encore. Architecture contemporaine avec un choix luxueux de lofts, appartements ou penthouses. À seulement deux min. du pont Pie-IX et de tous les services. http://www.lestvincent.ca/fr/index.php

Projet intéressant, bien situé!

Le bâtiment est souvent cité lorsqu'on parle de patrimoine menacé. Par Mu Architecture :

Photographer Chris Forsyth on the Montreal Metro, Going Underground, and Overlooked Architecture Montreal-based photographer Chris Forsyth doesn’t see his city the way others do — that much is evident from his body of work, which includes rooftop photos of the Montreal skyline, nocturnal shots taken from the arm of a crane and now, images from the underground. The Montreal Metro Project is Forsyth’s latest series, documenting the often overlooked architecture of the urban subway since October 2014. Composed of 68 stations, each designed by a different architect between the 60s and 70s, the Montreal Metro system is as diverse and idiosyncratic as the city it underpins. Forsyth captures the stations empty of passengers, highlighting their architecture and reframing them in a manner rarely experienced. ArchDaily spoke to Forsyth about the series and the creative process behind it. Read his responses and view selected images from The Montreal Metro project after the break. Is there a reason for capturing these usually crowded urban environments without people? I often avoid having people in my photos for a few reasons. Firstly, due to the nature of my photos, the length of the exposure rarely works with people. When shooting with shutter speeds around 1 second, you either have to get lucky and hope people stand still enough, or avoid people all together. But people do make spaces much more interesting in certain situations. They offer a sense of scale that’s necessary for certain images, and unnecessary for others. Secondly, photographing on private property, I have to be conscious of others. I’m not allowed to photograph STM employees strictly, and out of general consideration, I avoid photographing people to avoid disruption. What message about this overlooked architecture do you hope to convey through the Montreal Metro Project? I hope to show that beautiful architecture and design is accessible and present in all spaces (with exceptions of course). In the metros, even the tiling of each station and the spacing of the signage was meticulously considered. The color of the trains, which were at one point supposed to be red, the city’s color, went through much debate too. I just want to show how beautiful it can be if you take the time to really look at the stations. Just take a moment to walk around and look every once in a while. How much is your perception of a city altered by experiencing it from underground? My sense of space and distance is drastically altered when taking the metro. I can hop on the metro in one neighborhood, travel the distance of 5 stations in a matter of minutes, and find myself disoriented at another station in a completely different part of the city. When traveling underground in dark tunnels, you lose a sense of time and distance. It’s not like driving at street level where you can connect A to B by streets and landmarks. When you’re underground, you only have the design of stations to tell you where you are. For how long has this project been ongoing, and what sparked your initial interest in metro stations? The project has been ongoing for about 6 months now. Taking the metro every day for several years now, I developed an obsession of sorts. I found the story behind the system interesting, from the planning and construction, to the reason behind why the metros ride on rubber tires as opposed to steel wheels. The more I learn about it, the more I’m intrigued. Not to mention, during the winter it’s a great place to hide from the cold and find inspiration. Is there any other “overlooked” architecture that you hope to explore in the future? I just love architecture, design, and urban spaces. I’m interested in photographing everything from the interiors of factories, to the architecture of holdout buildings as well as more commonplace architecture of course. The Montreal Metro Project can be viewed here.

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

via Architectural Digest : True North With its magnetic mix of rugged individualism and European flair, Montreal exudes an irresistible French-Canadian joie de vivre Text by Mitchell Owens Tourists and travel guides often tout Montreal asa North American version of Paris. Pas vrai. Though the two cities’ abundant historic façades are predominantly limestone, Montreal’s are ash-gray, a rough-hewn contrast to Paris’s soufflé-gold luminosity. As for their all-important food scenes, Montreal’s muscular, hearty cuisine offers a robust counterpoint to the French capital’s refined traditions. And while the Québécois vernacular may have a sharper twang than what is spoken in France today, it’s actually more closely connected to French’s roots. Melissa Auf der Maur, the Montreal-born former guitarist for Hole and Smashing Pumpkins, once dismissed the provincial tongue as “hillbilly French”—only to have her mother, literary translator Linda Gaboriau, defend it as “the original French, the French of the kings.” In an increasingly globalized world, Montreal venerates its deep-seated local culture. French colonists settled Quebec in the early 1600s, and their descendants have never forgotten that intrepid foray, hence the province’s enduring separatist movement and its motto, Je me souviens—“I remember,” rendered pointedly en français. As Los Angeles–based AD100 architect Richard Landry, a University of Montreal alumnus, explains, “When you see those words on every license plate, it’s hard not to think about the patrimoine all the time.” Indeed, this city of 1.7 million, set on an island at the confluence of the St. Lawrence and Ottawa rivers, is infused with a pioneer spirit and an unpretentious pride in the homegrown. Cuisine is integral to this rich heritage—and a major reason Montreal remains a compelling destination long after summer’s festivals (most famously the International Jazz Festival) and carnivals have ended. “Montrealers reportedly spend more of their disposable income on eating out than on anything else,” says Andrew Torriani, the CEO and co-owner of the Ritz-Carlton Montréal hotel, a 1912 Beaux Arts landmark graced by the impeccable Maison Boulud restaurant, where executive chef Riccardo Bertolino plates suave international fare. The city is well-known for poutine, a tangle of frîtes topped with cheese curds and gravy. Auf der Maur swears by the version at Patati Patata (514-844-0216), a microscopic café close to Mount Royal Park, a 494-acre oasis designed by Frederick Law Olmsted. Diners craving more sophisticated menus can head to chef Normand Laprise’s hushed Toqué!, opposite the glittering business district’s colorful Palais des Congrès convention center and around the corner from the sleek W Montréal hotel. Chef-owners Hubert Marsolais and Claude Pelletier’s surf-and-turf mecca, Le Club Chasse et Pêche, on the other hand, is set amid the colonial gray-stone buildings of Old Montreal. Marsolais and Pelletier also collaborate with chef Michele Mercuri on the Italian-inflected brasserie Le Serpent, at the Ville-Marie arrondissement’s visual-arts center Fonderie Darling. Last year in the working-class Little Burgundy section—not far from the Old Port, where warehouses have been turned into cafés and inns, like the lofty Auberge du Vieux-Port hotel—chef-restaurateurs David McMillan and Frédéric Morin opened Le Vin Papillon, a charming wine bar. The new boîte is on the same block as the celebrated pair’s Liverpool House, a bistro with antler-bedecked walls, and Joe Beef, a tchotchke-filled gastropub that was recently ranked as Canada’s top restaurant, thanks to its lively confections like parfait of foie gras with Madeira jelly. Other daring chefs invigorating the city’s scene include François Nadon of the Latin Quarter’s Bouillon Bilk and Guillaume Cantin at Old Montreal’s Les 400 Coups. The city has a riveting collection of locally designed architecture as well. Starting with Moshe Safdie and his 1967 Habitat housing complex, a number of Canadian and Québécois talents have produced notable contemporary projects, including those in the Quartier des Spectacles, a network of performance halls, restaurants, galleries, fountains, and squares in the Latin Quarter. One of the district’s stars is the Grande Bibliothèque, a joint venture between Croft-Pelletier Architectes and Gilles Guité, both of Quebec City, and Vancouver’s Patkau Architects. The green-glass behemoth, containing multistory rooms walled with yellow-birch louvers, was hailed as “simple but wonderful” by Phyllis Lambert, Montreal’s architecture doyenne. The same could be said of Lambert’s own Canadian Centre for Architecture, which occupies an elegant 1989 building attached to a historic mansion in the Shaughnessy Village neighborhood. (The city does have a few outsider icons, namely Ludwig Mies van der Rohe’s 1967 Westmount Square mixed-used complex, I. M. Pei’s 1962 Place Ville Marie skyscraper, and Roger Taillibert’s futuristic Olympic Stadium, a 1976 structure Landry calls “a very, very cool white elephant.”) Québécois art offers major-league delights, too. The works of powerhouse midcentury geometric painters Claude Tousignant and Guido Molinari are highlighted at the multivenue Montreal Museum of Fine Arts. And things are only looking up for current local talents, according to Lesley Johnstone, a curator at the Musée d’Art Contemporain de Montréal, which hosts the Montreal Biennial from October 22, 2014, to January 4, 2015. “Today the wealthy younger crowd whose families supported hospitals and the symphony are focusing on Canadian artists,” she observes. Among this new generation are Anne-Marie and Pierre Trahan, the maestros behind the two-year-old Arsenal Montréal, a contemporary art complex housed in a former shipyard in the Griffintown neighborhood. The 83,000-square-foot space is also home to the couple’s Division Gallery, which focuses on domestic talents such as multidisciplinary artists Nicolas Baier and Bonnie Baxter. After taking in Arsenal’s exhibitions, one can visit another Griffin-town magnet, a stretch of rue Notre-Dame Ouest known as Antiques Alley, where cafés alternate with treasure troves like Milord Antiquités and Antiquités L’Ecuyer (514-932-8461). Stylish Montrealers also dress Canadian, heading to Boutique Unicorn and Philippe Dubuc for fashions by their compatriots, while apparel star Marie Saint Pierre operates an eponymous flagship in downtown’s Golden Square Mile area. Boho-chic women—including Sharon Johnston, the wife of Canada’s governor general—step out in fascinatingly funky jewelry that designer Charlotte Hosten makes in her tiny appointment-only Mile End atelier. And at nearby Clark Street Mercantile, the brands primarily come from far beyond the province but share an earthy authenticity that feels absolutely Canadian. It’s a quality worth keeping in mind when exploring a city where roots and remembrance are everything. See more of Montreal's can't-miss destinations.

Nom: 2-22 Sainte-Catherine Hauteur: 6 étages/~25 mètres Coût du projet: 15 000 000,00$ Promoteur: Société de développement Angus Architecte: Ædifica Architecture Emplacement: Sainte-Catherine/Saint-Laurent Début de construction: Automne 2010 Fin de construction: Automne 2011

Le projet Otto Condos propose 8 unités de 1 à 3 chambres, de 610 à 1370 pieds carrés, dans le vibrant quartier de Rosemont, à Montréal. Situé à proximité de nombreux services (écoles, centres commerciaux, clinique), de parcs et à quelques pas des transports en commun, dont la station de métro Saint-Michel, le projet se démarque par son architecture mêlant l’ancien au moderne et par ses condos conçus pour respecter les attentes les plus variées. Du coquet 3 1/2 au très spacieux 5 1/2, le projet vous offre aussi des places de stationnement généreuses. Inclus : Architecture unique Stationnement extérieur Finitions haut de gamme Insonorisation supérieure Balcons Plus d'information à la page: ottocondo.com

http://journalmetro.com/opinions/paysages-fabriques/466194/wake-up-call/ <header id="page-header" style="color: rgb(135, 135, 135); font-family: Arial, Helvetica, sans-serif; font-size: 13px; line-height: 16.003000259399414px; position: relative !important;">19 mars 2014 Wake-up call </header><article class="primary-article" style="margin-bottom: 25px; color: rgb(102, 102, 102); font-size: 15px; line-height: 1.8em; font-family: adelle, Adelle, Georgia, serif;"><figure style="display: inline-block; margin: 0px; max-width: 100%; box-sizing: border-box; padding: 6px; position: relative; border: 1px solid rgb(227, 227, 227) !important;"><figcaption style="background-color: rgba(0, 0, 0, 0.8); bottom: 0px; box-sizing: border-box; color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 12px; left: 0px; line-height: 1.4; border-style: solid; border-color: rgb(255, 255, 255); border-width: 0px 6px 6px; padding: 10px; position: absolute; width: 618px;">ACDFMaxime-Alexis Frappier, lauréat du Prix du Jeune Architecte 2013</figcaption></figure> Un banal appel peut parfois donner lieu à un véritable cri du cœur. C’est ce qui m’est arrivé lundi dernier avec l’architecte Maxime-Alexis Frappier qui, visiblement, avait besoin de sortir le méchant. Banalité. Horreur. Inexcusable. Le lauréat du Prix du Jeune Architecte 2013 de l’Institut royal d’architecture du Canada ne mâche pas ses mots lorsque vient le temps d’analyser le développement urbain de la métropole. Comment en est-on arrivé à cette discussion? Je lui ai simplement posé la question suivante: «A-t-on peur de la couleur en architecture à Montréal? Il me semble qu’on ne voit que de la brique grise, beige et rougeâtre, du verre et du béton dans les grands projets réalisés ces dernières années.» Il n’en fallait pas plus pour faire exploser la bombe à retardement qui sommeillait en lui. Mon appel, qui ne devait durer que 10 minutes, s’est finalement étiré sur presque une heure. «La couleur, pour moi, ça fait partie de l’audace et de la créativité, s’exclame-t-il. On est tellement rendu craintif au Québec. On est en train de devenir beiges. […] On n’exige même plus de qualité et de créativité dans les appels d’offres. On veut uniquement des architectes capables de gérer un budget et un échéancier!» Pour M. Frappier, même si les bons coups se multiplient [notamment grâce aux concours d’architecture], les occasions manquées ne se comptent plus. L’OSM, le nouveau CUSM, les tours à condos du centre-ville. On multiplie les chantiers sans se demander si ces projets contribueront à améliorer notre qualité de vie et à susciter un sentiment de fierté pour notre ville. «Les gros investisseurs, incluant le gouvernement, ne s’interrogent pratiquement plus sur la firme d’architecture derrière les projets de 100 ou 150M$, s’étonne-t-il. On se soucie à peine de savoir si l’architecte est en mesure de créer une plus-value à l’investissement, s’il va concevoir un projet unique.» «Le fait de voir de bons projets autour de nous, c’est ça qui nous réveille en tant qu’architecte, en tant que société.» – Maxime-Alexis Frappier, lauréat du Prix du Jeune Architecte 2013 Maxime-Alexis Frappier va même jusqu’à observer un certain recul en matière d’architecture et de design urbain au Québec, en comparaison des autres provinces canadiennes. «J’étais juré pour les prix en architecture du gouverneur général du Canada, m’explique-t-il. Il y avait 150 projets sur la table et je suis sorti de là déçu. Ça bouge ailleurs au pays. Pourquoi pas au Québec? Wake up! Il faut pouvoir mettre en valeur notre talent.» Pour lui, il faut absolument briser le mythe que les beaux et bons designs coûtent une fortune. «Ce n’est pas vrai, affirme l’architecte. On peut faire des projets bien équilibrés, durables et novateurs qui ne coûtent pas plus cher que ce que l’on fait actuellement. Il faut juste vouloir le faire.» Ce changement de mentalité [déjà amorcé, selon lui] passe avant tout par les projets gouvernementaux, les bâtiments parapublics et les institutions scolaires. Le privé suivra instinctivement. «Le fait de voir de bons projets autour de nous, c’est ça qui nous bouscule en tant qu’architecte, en tant que société. Autrement, on s’endort. On tombe dans la facilité. Il est temps qu’on se réveille.» Projet phare à surveiller, selon M. Frappier: le cinquième pavillon du MBAM /Architectes: Manon Asselin et Jodoin Lamarre Pratte </article>

Le projet de luminothératpie de cette année à la Place des festivals via The Gazette Luminothérapie's field of swaying stems Place des festivals will be filled with glinting lights and moving melodies for this year’s Luminothérapie installation BY SUSAN SEMENAK, THE GAZETTE NOVEMBER 22, 2013 The designers of Entre les rangs, led by the Montreal architecture firm KANVA, were inspired by the long narrow parcels of land set out in New France. The installation at Luminothérapie features music to give the impression of wind in a wheat field. MONTREAL - For all its summertime verve, Place des festivals can be downright desolate come winter. Without late sunsets, lingering festival crowds or lineups for food trucks, the concrete quadrangle adjacent to Place des Arts is cold and windswept. In a few weeks, though, it will become a twinkling, swaying wheat field. On Dec. 11, the interactive multimedia show called Entre les rangs, which means “between the rows,” opens as part of the fourth annual Luminothérapie design competition organized by the people who run the Quartier des spectacles as an antidote to Montreal’s long grey winters and a way to showcase the creativity of Montreal designers. It was an idea that came to Montreal architect Rami Bebawi and his team at Kanva Architecture one frigid end-of-winter day last March when they bundled up and headed over to take stock of the site. To find the “soul” of the place, he says, they listened to the wind. And then they enlisted designers in a host of other fields, among them the indie musician Patrick Watson and the local landscape design firm Côté Jardin, to help create magic using light and sound. “The space is just so big. It’s like an open lot surrounded by buildings in the middle of a dense urban environment,” Bebawi said, pouring espresso in the firm’s sunny St-Laurent Blvd. loft while taking a break from the preparations for the show’s opening. “Stand back, though, or look at it from above, and what you see is a long narrow parcel of land with Mount Royal to the north and the St. Lawrence River to the south, a site that rises and then dips, with many levels in between.” Its rectangular shape, the designers noticed, is reminiscent of the long, narrow tracts of farmland that have characterized rural Quebec ever since the seigneurial system of New France. “We started to play around with this shape, and with the idea of history and weather and the natural cycle of the seasons,” Bebawi said, doodling his vision on a notepad as he spoke. Before they knew it, the team had conjured a large-scale urban metaphor for a wheat field in rural Quebec, one made of more than 28,000 plastic rods topped with simple white bicycle reflectors. In the winter wind, bathed in reflected light, the stylized stems will sway as they would in a blustery wheat field. The stems vary in height from 3½- to 5-feet-tall, set tightly together and anchored in recycled plastic posts. Each of them is topped with a simple old-fashioned bicycle reflector that will catch the light emitted from overhead coloured lamps, the colours moving with the wind as music plays. With the sound emanating from speakers hidden at street level all around the site that is louder when the wind picks up, it gives the impression of a moving melody. The most successful public art installations, Bebawi says, create a collective experience. The Entre les rangs field is laid out in a series of slightly curved lines with breaks every now and then for people to cross through. Entre les rangs’ 6-foot-wide aisles are perfect for strolling side by side or for walking through alone. The Entre les rangs exhibition is one of two installations chosen from among 44 submissions for this year’s Luminothérapie competition, which promotes new ways of using public spaces as open-air galleries. The competition runs from Dec. 11 to Feb. 2, 2014. The other exhibit is a playful series of projections called Trouve Bob, a kind of high-tech version of Where’s Waldo that will be projected on the façades of the buildings surrounding Place des Festivals. It invites visitors to play a game in which the character Bob hides in a psychedelic world of unusual characters, all of them hiding out in the architecture of the projection surfaces. It was designed by a Montreal multimedia collective called Champlagne Club Sandwich. For more information: http://www.quartierdesspectacles.com ssemenak@montrealgazette.com © Copyright © The Montreal Gazette

Monctezuma : ce projet a été remplacé par celui-ci : http://mtlurb.com/forums/showthread.php?t=17112 ********************** 1440 de la Montagne Architectes: miguel Escobar architecture Fin de la construction:2008 Utilisation: Résidentiel Emplacement: Centre-ville, Montréal 63 mètres (207 pieds) - 22 étages De la Montagne/ Maisonneuve - 2007 2 images.

Un document faisant état de la valeur patrimoniale du réseau de métro de Montréal vient d’être complété. Il servira à orienter les décisions futures de la Ville et de la Société des transports de Montréal. «On oublie parfois que le métro est un emblème de Montréal à l’international, pour la diversité de son architecture et l’ensemble des corridors souterrains qui s’y rattachent» -Isabelle Dumas, Chef de la division du patrimoine à la Ville de Montréal http://journalmetro.com/actualites/montreal/414308/un-document-pour-evaluer-le-patrimoine-du-metro/ http://ville.montreal.qc.ca/portal/page?_pageid=2240,96375615&_dad=portal&_schema=PORTAL