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http://www.townandcountrymag.com/leisure/dining/a5818/montreal-restaurant-scene/ Asked to name the best restaurant city in America—meaning the United States—I offered the only reasonable answer: Montreal, a city with the culture, the cooks, the restaurants, the provisions, and the hospitality. (Also of significance is Canada's nicely diminished dollar, which makes dining a deal.) Such a welcome package was neatly summed up by a Canadian pal, Mike Boone, who worked with me at the Montreal Star in the 1970s. He said, "We're not just nice, we're cheap." Of course, Montreal isn't exactly in the United States, should you be hung up on such details as international borders. (Obviously, I am not.) The city is in the province of Quebec, a part of Canada as long as there has been a Canada. My belief that Montreal is really a lost colony of the United States is strengthened by the indisputable fact that our Continental Army captured and briefly held it in 1775. One need only glance at a map from those days, when the province of Quebec was nestled just north of the 13 colonies, to admire the logic. Allow me to add this: The citizens of Quebec practically exhausted themselves trying to secede from Canada in the latter half of the 20th century, only to fail when a 1995 referendum lost by a few thousand votes. To me Montreal is spiritually a part of the U.S., a kind of New York City in miniature, although it's even more like an independent city-state. OLD MONTREAL AT NIGHT. DENNIS TANGNEY JR./GETTY IMAGES The restaurants of Montreal are the attraction. Their evolution, which started in this century, has been swift. They are modest in size and technically proficient, and they provide a sense of casual fine dining that is embraced more wholeheartedly here than anywhere in the U.S. The dining culture is descended from those of both France and England— thankfully, more from France—leaving Montreal a sort of culinary orphan, free to seek its own path. New York, which was considered the best American dining city in most eras, but no longer, has become ground zero for casual dining. (A restaurant critic for the New York Times recently announced his top dish of the year: a sticky bun.) Montreal has developed an engaging dining personality at the same time that New York has been losing the one it had. Famed Montreal restaurateur David McMillan (Joe Beef, Le Vin Papillon) says, "I'll tell you why Montreal is the best restaurant city, and it's not about the skill of our cooking. We have the most advanced dining public in North America. I serve lamb liver cooked rare to 17-year-old girls. I sell tons of kidneys and sweetbreads. Manhattan is one giant steakhouse. Everybody there wants steak, or red tuna. I don't want to know how much red tuna is sold every day." Chef Normand Laprise, the grand old man of Montreal chefs (even if he is only 54), adds, "I visit pastry shops in the States, and I know Americans are not open- minded customers. It's hard to sell any- thing other than cupcakes and macarons." Montreal has had multiple culinary revolutions in the past 50 years. When I worked for the Star the restaurants primarily served French cuisine, albeit not quite what you'd find in Larousse Gastronomique. The Beaver Club at the Queen Elizabeth Hotel featured such fantastical dishes as Le Coeur du Charolais Soufflé aux Splendeurs du Périgord. The top chefs, who came to Canada from France following World War II or stayed in Montreal after working at Expo 67, were a little too fixated on flambéing and melting cheese. After the financial debacle of the 1976 Olympics, which almost bankrupted Quebec, the restaurants declined precipitously. The only noteworthy and enduring establishment was Toqué!, operated by Laprise. In 2001 came Au Pied du Cochon, which was informal and inventive. Chef Martin Picard embraced local products and reinvented old, somewhat primitive dishes such as jellied pig's head and poutine, an ungodly assemblage of french fries, cheese curds, and gravy that arose in rural Quebec in the 1950s. Picard created a regional cuisine and, more important, prized local products as few before him had. ADVERTISEMENT - CONTINUE READING BELOW Joe Beef, the next great restaurant, did away with tablecloths and menus (using blackboards instead). That was followed by Les 400 Coups (in the French tradition) and Lawrence (quite Anglo), establishments embracing either side of the local language divide. They were among the places that made Montreal the best for restaurants in this hemisphere, one where fine dining has been transformed into a modern ideal. No other city does it as well. DAY 1: FARM FRESH MEETS CRAZY GENIUS Daniel Boulud, who has a restaurant in the Ritz-Carlton Montreal, tells me that a visitor can grasp the essence of the dining culture before arriving, simply by looking out an airplane window. "Twenty minutes before you land, you pass over the farms, the greenhouses. This isn't California. Here you have really small farms next to each other, not industrialized." So as I fly in I peer out the window. First I see mountaintops and lakes, then silos and barns. Boulud is right. After we land, my traveling companion and I head to Les 400 Coups for lunch. The room is primarily in shades of charcoal and black, understated. The clientele, like most people in this city, dresses stylishly. The food is auspicious. Our squash soup is not like other squash soups. No bulk. No boredom. It's speckled with drops of olive oil, as though they had floated down from a cloud. The duck croquette is precisely as duck should be: rich, savory, skinless, and easy to eat. If there were such a thing as a wagyu duck burger, this would be it. AN ARRAY OF DISHES FROM LE MOUSSO, WHICH FEATURES A NEW TASTING MENU EVERY DAY. @ONDEJEUNE Les 400 Coups also has a pastry chef, a category of professional disappearing from American restaurants. I don't mean to overdo the compliments, but the desserts are notable as well: delicious and artistic, a little Georges Braque, a little forest tableau; the lemon cream dessert includes sea buckthorn. I would not be surprised if the pastry chef forages when off duty. I feared that our choice for dinner, Le Mousso, an all-tasting-menu restaurant that had just opened, would be like all the tasting-menu joints in America, the chef desperately seeking to express himself. Such food is occasionally brilliant. Too often it's awful. My friend was intrigued, certain it would be different here. She was correct. The restaurant is very Brooklyn, with an array of seating options at tables and counters, plus hanging lightbulbs and a chef, Antonin Mousseau-Rivard, who sports a short beard, a knit cap, tattooed arms, and Adidas shower sandals. He is self-taught, mostly via Instagram, and he says, "I didn't even work at a good restaurant in my life." We are handed a printed menu. It looks weird, but tasting menus always do. We eat seven dishes, all marrying ingredients never previously combined. But the wagyu beef from Quebec accented with slightly salty sturgeon caviar is masterful, as is the cool arctic char nestled in what appears to be a paint box of colors and flavors. Even the desserts are arresting, and desserts prepared by savory chefs are rarely that. The first is labeled sang, which means blood. I'm frightened, as I'm sure the chef means me to be, but it's blood sausage ice cream as Häagen-Dazs might make it, plus Quebec cheddar crumble in an apple-vinegar reduction. (Yes, Quebec has a flourishing cheese industry.) I suggest to Mousseau-Rivard that he might be a crazy genius, and he replies, "I like the word crazy more than genius." DAY 2: LOCAL HEROES A few blocks from the Parc du Mont- Royal, a revered green space designed by Frederick Law Olmsted, sits Beauty's, a luncheonette owned by Hymie Sckolnick, 95. He is always there. Hymie bought the shop in 1942 for $500. He is nice enough not to brag about his investment prowess. BREAKFAST AT BEAUTY'S, A LOCAL FIXTURE SINCE 1942. MICKAEL BANDASSAK Breakfast at Beauty's followed by a park stroll serves two vital purposes: The park provides visitors with an aware- ness of the physical glory of the city, as it's built on the slopes of the multitier hill Mount Royal, and Beauty's remains a notable example of Montreal's enduring (and somewhat inexplicable) fascination with Jewish food, most famously its bagels—smaller, sweeter, and superior to New York's—and its pastrami-like smoked meat. ADVERTISEMENT - CONTINUE READING BELOW At Beauty's, bagels from the St.-Viateur bagel shop (officially La Maison du Bagel) accompany the "famous mishmash," a kind of omelet that would be scorned by French chefs, inasmuch as it is not golden yellow or elegantly contoured. It consists of eggs, scrambled and browned a bit, the way my grandmother made hers, plus hot dog, salami, green pepper, and fried onion. You will sigh. You will burp. Unmatched in Montreal (or anywhere) is Le Vin Papillon, owned by David McMillan. The food is casual, mostly vegetables. The place takes no reservations and for a long time was nearly impossible to get into, although recently it doubled in size and the struggle has subsided. I recommend arriving at 3 p.m., when it opens, although take care not to wait by the wrong door, the permanently closed one, or you'll feel as if you've been locked out. We have celery root ribbons bathed in bagna cauda, a Piedmontese sauce made with garlic and anchovies; charcoal-roasted white turnips with housemade pomegranate molasses; and the best dish of all: a curiously savory hummus of hubbard squash with homemade focaccia. LE VIN PAPILLON'S CHALKBOARD MENU. RANDALL BRODEUR We don't leave until 6 and decide to skip a formal dinner, choosing instead a late smoked meat sandwich at Schwartz's, which seems to be open day and night. Schwartz's never changes, although the ownership has. The original proprietor, a Jewish immigrant from Romania, is long gone, and Schwartz's is now the property of a consortium that includes Céline Dion. I order my smoked meat fatty—most customers request medium or lean—and the waiter says, "Good for you." Maybe the place has changed: That's a long speech for a Schwartz's waiter. The rye bread continues to be tasteless, the smoked meat is still really good, the cole slaw reminds me of North Carolina, and the fries aren't as great as they used to be, but they're not bad. DAY 3: OLD FRENCH, NEW BRITISH Maison Boulud is admirable for who owns it (Daniel Boulud), for where it resides (in the historic Ritz-Carlton), and for its lovely location adjoining a small garden and duck pond (request a table overlooking both). The restaurant is among the last of its kind, a French one (well, mostly French) in a city where French cuisine is vanishing. (This is happening everywhere in North America; it just seems more baffling in Quebec, where more than half the population is French-speaking.) I order a lunch that spins me back in time: housemade pâté of startling freshness and eminent richness, and confit of guinea fowl leg in a miraculously silken foie gras sauce. The kitchen sends out lovely ravioli stuffed with sheep's milk cheese. It doesn't taste French, and shouldn't—the executive chef, Riccardo Bertolino, is from Bologna. THE MAISON BOULUD KITCHEN. Dinner that evening is entirely anglophile, at Maison Publique, an appealing tavern that offers only Canadian wines (and somehow pulls it off) and plates of mostly meaty foods that sound peculiar, as British cuisine almost always does. I never miss a chance to eat here. We order andouille sausage (reddish, dreamy, and fiery) spread on toast, and tender lonza, or salumi, made from free-range piglets raised for the restaurant in the Eastern Townships of Quebec. The main room has an old wooden floor, dark paneling, and mounted deer heads with soccer scarves wrapped around their necks. The menu is a well-lit corkboard to which is pinned a list of food and drink. Folks gather around it to discuss the dinner choices, a sign of changing times. When I lived in Montreal in the 1970s, during the separatist movement, concerned young people gathered in bars and pubs to sing protest songs demanding freedom from Canada. Now they chat about the origins of local meats and vegetables. DAY 4: A POUTINE CHALLENGE We have made no lunch plans, but when desperate I always call the nearest hot dog joint. On Saint Lawrence Boulevard is the Montreal Pool Room, which opened in 1912 in a different location not far from the current one. (Other changes have occurred: no more pool tables.) In case you have trouble finding it, directly across the street is the garish marquee of Café Cléopatre, which features stripteaseuses and danseuses à gogo. ADVERTISEMENT - CONTINUE READING BELOW My friend calls the Pool Room and asks, "Are you open? Are you serving food?" A sweetheart of a counterman replies, "Yes, madame. Hot dog, hamburger, cheeseburger. You come, you eat." She has her first Montreal hot dog. They're famous, even if they're bland compared with New York's. Here they're served correctly: steamed and topped with mustard, relish, and mild chopped onions. She also insists on poutine. I await her disappointment, but she loves it, saying, "It filled my every poutine expectation." If you're from New Jersey and enjoy disco fries, you might love poutine too. Hot dogs followed by poutine can be filling, which makes Hôtel Herman—it's not a hotel and there is no Herman—an excellent option for dinner. It offers small plates that are unusually small. The food is unexpectedly elegant, given the rough-hewn decor (wide plank floors that look as old as Montreal itself, tin ceiling, bare lightbulbs). Little logs of housemade foie gras are brilliantly composed, topped with crumbs and cranberries. The chef, Marc-Alexandre Mercier, bakes his own bread, dark and earthy and easily worth the $2 surcharge. The sweetbreads come with mashed potatoes from a variety called Ozette, grown in Quebec. They are mesmerizing, and it's not just the added buttermilk and cream. Mercier tells me his way with vegetables is a result of childhood trauma: His mother made him eat a bowl of rutabaga so awful it made him cry. DAY 5: GENTRIFICATION FLAMBEE Lawrence, among the most Anglo of the Anglo establishments, is blessed with big windows that allow in an abundance of light, a major reason I love to have lunch there. The staff is sweet, the wine list just right, the crockery seemingly from a church basement sale, and the menu filled with dishes you might never have eaten before. Fried endive topped with snowy crab, an unlikely concoction, is crunchy and juicy, impeccably fresh. The desserts are simple but superlative, the "burnt" chocolate pudding much like an all chocolate crème brûlée, and the warm ginger cake is topped with a crème anglaise that I'm tempted to drink. In the evening we set out to see two new restaurants with unusual appeal. Both feature wood-burning ovens, which are unusual in Montreal, and both are in newly gentrified sections of the city. A TRAY OF OYSTERS AT HOOGAN & BEAUFORT. ALISON SLATTERY PHOTOGRAPHY Hoogan & Beaufort is in a former industrial park in Rosemont where the Canadian Pacific Railway once built locomotives. An excellent consequence: It has stunningly high ceilings. William Saulnier, one of the partners, says that in the restaurant's opening days many of the calls they received started out, "Where are you?" Foxy is in a neighborhood once largely populated by Irish immigrants. Both of these spots are following an established American trend, moving away from midtown to more remote locations where rents are cheaper and space more generous. We weren't able to eat at Hoogan & Beaufort, only peek in, because we were dining with Lesley Chesterman, a friend who is the restaurant critic for the Montreal Gazette, and she was reviewing Foxy. She seemed to like my theory that Montreal belonged to the U.S. She said, "Montreal has never felt less Canadian to me." I leave the analysis of Foxy to Chesterman, enthusiastic about everything except the two dishes prepared in the wood- burning oven. About my favorite she wrote, "I loved the flatbread we ordered. Covered in melted raclette cheese, red onions, potatoes, and house-smoked ham, it was reminiscent of an Alsatian tarte flambée. We scarfed it back in minutes, the only problem being that one of the pieces of ham popped off my slice and, as I discovered the next morning, fell into my purse under the table." DAY 6: END ON A SWEET NOTE For me, departure days begin with a trip to the St.-Viateur bagel shop, where I buy a few dozen to take home. The price these days is 80 cents each. Hymie Sckolnick told me they used to cost two cents. When I complain to the counterman, he laughs and tosses in a few extra. Hymie's is a good name to drop in Montreal. PATRICE DEMERS WORKS HIS MAGIC AT PATRICE PÂTISSIER. MARC KANDALAFT Our getaway meal is lunch at Toqué!, which is run by Laprise, that most essential of Montreal chefs. His new establishment is a member of Relais & Châteaux, and his kitchen is a marvel, overflowing with cooks. The food isn't what I think of as new Montreal cuisine—it's too precise and luxurious—but it's up there with the best haute cuisine in North America. An appetizer of arctic char is creamy and silky, tasting of smoke and lemon. My Montreal Star pal Boone, joining us, calls it "the cotton candy of fish." Chicken, prepared sous-vide, is so moist there's beading on the breast. My friend has what the waitress calls "a perfect egg," cooked slowly, with a sauce made from a long-simmering duck reduction. Dessert is so ethereal—mostly honey, jelly, and cream—that on the way to the airport we stop at Patrice Pâtissier so I can pick up a few stuffed-on-the-spot chocolate-banana cream puffs. Patrice Demers, the owner of this new shop on Notre Dame West, was the first pastry chef at Les 400 Coups and thus is a hero of mine. But then, so many Montreal chefs are. Alan Richman is a 16-time winner of the James Beard Award for food writing.

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

http://montrealgazette.com/news/local-news/two-montrealers-striving-to-improve-citys-economic-lot?__lsa=4920-2f19 Among the people charged with promoting Montreal’s economic development, Éric Lemieux and Dominique Anglade are on the front lines. They’re battling with other cities around the world as Montreal vies for scarce new jobs and investment dollars, often competing against lucrative incentives offered by other jurisdictions. Lemieux is trying to breathe new life into the city’s financial sector while Anglade seeks out high-tech companies, aerospace firms and life science businesses willing to invest here. Banks and insurance companies have moved their headquarters to Toronto and local stock exchanges have closed but Lemieux, who heads the private-public agency known as Finance Montreal, sees new opportunities ahead. “Canada has a stable economy with good financial regulation,” he says, and the country emerged from the 2008-09 financial crisis with a healthy banking sector. That should help to attract international banking activities. The city has an “excellent pool of talent supplied by its universities and business schools,” he says, with 8,000 students enrolled in finance programs. It also boasts much cheaper operating costs than places like New York and Boston. “Banks like BNP Paribas, Société Générale and Morgan Stanley all made the decision to locate some of their operations here.” Montreal has over 100,000 jobs in the financial sector and derives close to 7 per cent of local GDP from the 3,000 financial firms working here. It’s become an important centre for pension fund management, led by the giant provincial agency the Caisse de dépot et placement as well as other large players such as PSP Investments and Fiera Capital. The sector includes more than 250 money-management firms. The city is developing a new area of expertise in financial derivatives like futures and options on stocks, currencies and bonds, which are traded on the Montreal Exchange. And financial technology is also a selling point for Montreal. It has a growing presence in software development and information technology for the asset management industry, as traders look for every technical edge they can get. Part of Lemieux’s effort comes through the International Financial Centre program, which offers employment-based tax credits to financial firms that set up international operations here. “I think it’s a good success story,” he says. “There are more than 60 companies and 1,000 jobs that have located here” under the plan. “Seventy per cent of them would not be in Montreal if there wasn’t this support. We’re talking of $100 million in direct and indirect benefits.” Another important asset is the local venture capital industry, which finances startups and early-stage firms founded by entrepreneurs. The sector is led by such funding institutions as Teralys Capital and the Fonds de Solidarité. Put it all together and the portrait of the city doesn’t look too bad. According to the Global Financial Index — an international ranking that measures both size and industry perceptions — Montreal is the world’s 18th financial centre, up from 31st spot four years ago. Dominique Anglade runs Montreal International, the agency that prospects worldwide for foreign direct investment on behalf of the 82 municipalities in the Communauté métropolitaine de Montréal. Like Lemieux, she sees fierce competition for investment dollars. In this tough environment, the Montreal area has had its share of successes. 2013 was an exceptional year, as Montreal International helped to secure a record $1.2 billion in foreign direct investment (FDI). The year just ended will fall short of that mark but will “continue our momentum,” says Anglade. The city was recognized as having the best attraction strategy in North America in a survey by FDI Magazine, a sister publication to Britain’s Financial Times. The record performance was driven by several major expansions of foreign multinationals in the Montreal area, including French video-game maker Ubisoft and Swedish telecom giant Ericsson. The presence of multinationals is critical to the Montreal economy. They account for 20 per cent of local GDP and nine per cent of jobs, as well as a large share of private research and development. Montreal International’s task is to convince them not only to stay but to invest and expand here. Multinationals often pit one plant location against another to see which one will produce the best value proposition. Montreal International’s job is to stay in constant touch with the companies that have a presence here to find out what they want to accomplish and what they need to survive. Anglade targets certain niches where the city is already strong such as information technology, video games, special effects for movies and TV, aerospace and life sciences. Information technology represented by far the biggest share of the new money coming into the city in 2013. The video game industry also remains a strong performer, with five of the world’s top 10 selling games produced in Montreal. A significant percentage of deals — about 60 per cent — involve government financial assistance through provincial tax credits but Anglade doesn’t apologize for the financial aid offered to the private sector. “The competition in the U.S. has no limit. They have billions in terms of incentives and that’s why we have to be extremely strategic in Montreal and focus on specific sectors.” She notes that Swedish appliance maker Electrolux opted to close its plant in nearby L’Assomption, employing 1,300, and shifted operations to Tennessee after it was offered a rich package of incentives by three levels of government. Still, in industries that require more skill and knowledge, the availability of talent is Montreal’s strong point, Anglade says. “One of the surprises that people have about Montreal is its talent pool. I can’t tell you how many companies have said ‘wow, this is amazing’ when they start to fill positions here. It’s why we need to stress the importance of education. It’s critical for the future of Quebec.”

Nouveau resto qui va ouvrir dans l'ancien local de L'Aventure dans la Place Jacques-Cartier http://montreal.eater.com/2014/12/5/7341641/first-look-harlow-game-changer-restaurant-place-jacques-cartier-old-montreal#4353296 sent via Tapatalk

#12 - Montreal (Courtesy of GOOD) Read more The 50 cities they selected are quite interesting; #1 Hong Kong, #2 Johannesburg and #3 Mexico City.

via The Gazette : German magazine shines spotlight on Montreal’s Bernard St. BY JESSE FEITH, THE GAZETTE JULY 30, 2014 The biannual Flaneur Magazine dissects and features one street per issue. Photograph by: Flaneur Magazine , . Two years ago when Berlin-born Ricarda Messner moved back to her hometown after having lived in New York City, everything seemed a little different as she walked around, wandering from block to block and trying to get a feel for the once-familiar streets. She started thinking about those streets, about how they’re the fabric of any city: each one representing a different aspect of its neighbourhood. Wanting to put that idea into print, she founded the biannual Flaneur Magazine, which dissects and features one street per issue. Manfred Stoffl, director at Montreal’s Goethe Institut, which promotes German culture in Montreal, happened to be in Berlin when he read about Flaneur in Germany’s national daily newspaper, the Frankfurter Allgemeine. He contacted Messner to find out where he could get a copy of the first issue. The two met over a coffee and Stoffl left her with the idea of the magazine featuring a street in Montreal. In October of last year, Messner found herself wandering around again, but this time in Montreal. She hopped on a Bixi bike and followed her gut, ending up on Bernard St. “Bernard is one of those streets which might not seem so obvious at first, but it made sense for us,” she said in an email. “Still to this day, there was no other street which gave us the same feeling — representing Montreal in a hyper local microcosm.” Messner says she was aware of what she called the special role Montreal’s bilingualism plays in Canada, but didn’t have a real picture of it until spending time on Bernard. She was intrigued by the stark contrast between the street’s Outremont and Mile End sides, as well as the francophone, anglophone and Jewish communities that populate its sidewalks, restaurants and shops. Messner and two editors moved into an apartment on Hutchison St. for two months, and together with local talent, got to work talking with shop owners, approaching people on the street and turning as many stones as possible. The result, published earlier this month, is a 136-page issue of Flaneur, written in English, that “embraces the street’s complexity, its layers and fragmented nature with a literary approach.” There’s a spread profiling Tammy Lau, of Dragon Flowers, who’s had different shops open on the street for the last 25 years, selling handmade sweaters, Chinese porcelains and eventually settling on flowers. Another two pages feature Dominic Franco Kawmi, who owns a shoe shop on the street. And yet another section speaks of Peter Hondros of Loft 9, an antique boutique in the Mile End. “Outsiders who come in and stay briefly are bound to see things differently than those who live here,” said Hondros after seeing the magazine. “So it was interesting to read their take.” When Flaneur worked on its second issue, featuring Georg-Schwarz-Strasse in Leipzig, the team faced a lot of skeptical people who wished the magazine would pick a different street. In Montreal, said Messner, the opposite happened. “The people we came across didn’t react like that at all. People were enthusiastic, debated with us if Bernard was the best choice or not, and at our launch party, those present seemed genuinely interested and excited about the magazine,” she said. “I can’t believe how quickly the team clicked with Montreal,” Stoffl added. “The issue gives a real authentic view of the city. They were here in the cold of the winter, but the issue is still very lively.”For the 52-year-old Hondros, Bernard is a street that’s in a state of flux, becoming younger, trendier and a little less “laid back” than it used to be — changes the magazine couldn’t necessarily pick up on during its two month stay. “To us, it was a compliment to have someone come here and like what they see,” he said. “But now we’ve moved on, and we’re just back to our daily routines.” The magazine’s Montreal issue was financed in part by the Goethe Institut and is on sale at Drawn & Quarterly on Bernard St. It can also be ordered online at flaneur-magazine.com. The Flaneur team is now setting up shop in Rome to work on its next issue. jfeith@montrealgazette.com Twitter: jessefeith © Copyright © The Montreal Gazette

http://www.montrealgazette.com/business/Obituary+David+Azrieli+touched+many+parts+society/10014707/story.html By Paul Delean, THE GAZETTE European-born David Azrieli, who fled the Nazis as a teenager, fought in the 1948 Arab-Israeli war and then found fortune in Canada, died Wednesday at age 92. According to Forbes magazine, the Montreal-based real-estate developer and businessman was one of the richest Canadians with an estimated worth of $3.1 billion. He also was one of the most generous, contributing more than $100 million to philanthropic causes around the world, many of them in the fields of medical research, education and the arts. “It’s a great loss,” said Susan Laxer, president of local Jewish organization Federation CJA. “He literally changed the landscape in Israel with his office towers and architecture, and with his philanthropy, he touched many parts of our society and community. Through his legacy, he’ll continue to touch the lives of many people.” Norma Joseph, professor of religion and associate-director of the Azrieli Institute of Israel Studies at Concordia University, described him as “a formidable person, very strong-minded. And he used his mind for a wonderful vision of community and building.” The institute got its start in 2011 with funding provided by the family foundation, “but he did more than give money. He also gave his personal time and effort,” Joseph said. Born into a Jewish family in Poland, Azrieli escaped ahead of the Nazi occupation and kept moving, winding up in British Mandate Palestine in 1942. He studied architecture at Technion-Israel Institute of Technology and fought in Israel’s war of independence before settling in Canada in 1954. In a rare 1973 interview with the Montreal Star, he said he arrived here with no family connections and “literally, penniless.” “Nobody gave me anything,” he said. After earning a Bachelor of Arts degree from the Université de Montréal and working at a number of jobs, he had enough saved for his first solo project in 1957, construction of four duplexes on vacant lots he purchased in Ville D’Anjou. It was the start of a real-estate juggernaut that would eventually include thousands of apartment units, office buildings and shopping centres in Canada, the U.S. and Israel. Among his local holdings is the downtown Dominion Square Building housing The Gazette, acquired for $78.25 million in 2005, and the Sofitel Hotel. The Azrieli Group also held interests in companies active in the fields of energy, water and finance. He remained its chairman until last week when daughter Danna succeeded him, a move prompted by his medical condition. A sometimes controversial figure, Azrieli made headlines in the 1970s when he razed the former Van Horne Mansion on Sherbrooke St. and erected a 17-storey office tower on the site. In 1984, he sued The Gazette for libel over an editorial about a local development, but lost. “From the times of the pyramids to those of the skyscrapers, the works of architects and builders have been monuments to their glory or to their shame,” Superior Court Judge Paul Reeves said. “They build before the public eye and the public rightfully says whether it likes or dislikes what it sees.” In his later years, Azrieli split his residency between Israel and Westmount. “I have two homelands,” he once said, “two places that I love and where I have been blessed to do what I love best.” Active in and supportive of Jewish causes throughout his lifetime, he served as president of the Canadian Zionist Federation and in 2008 authored a book called Rekindling the Torch: The Story of Canadian Zionism, which told the story of the contribution of Canadian Jews and non-Jews to establishment of the state of Israel and their continuing support for the country. He also made Holocaust remembrance a personal crusade after it took from him two siblings and both parents. “This is my vision, to be able to use the tangible rewards of my career in building and construction to create a legacy for education and educational institutions in both of my homelands,” he said. A recipient of the Order of Canada, Azrieli also was a “chevalier” of the Ordre National du Québec. Married for 57 years to Stephanie Lefcort, he had four children: Rafael, Sharon, Naomi and Danna. He died surrounded by family at his country home in Ivry-sur-le-Lac, Que. pdelean@montrealgazette.com

Nouvelle adresse dans le Quartier des spectacles : Café Parvis : un petit nouveau, rue Mayor Publié le 4 février 2014 par Quartier des spectacles Les huit partenaires derrière le Furco frappent encore. Situé dans le grand local adjacent au populaire bar, le Café Parvis, ouvert depuis quelques jours à peine, est un café et une pizzeria. L’endroit séduit déjà les Montréalais le jour et on prévoit une ouverture en soirée d’ici le printemps. Rencontre avec Éric Bélanger, chef superviseur et associé au Café Parvis, au Furco et à la Buvette Chez Simone. Comment est né le Café Parvis? Quand nous avons ouvert le Furco, en octobre 2012, nous avions prévu qu’il serait en opération midi et soir. Nous avons d’abord ouvert le soir, pour le rodage, puis, après une semaine, le bar était déjà plein tous les soirs. C’est devenu très rapidement un endroit où c’était continuellement la fête. Nous n’avons donc jamais ouvert le midi. Puis, on nous a proposé le local adjacent. Au départ, nous étions plus ou moins intéressés parce que nous étions satisfaits du Furco. Mais l’idée d’ouvrir un café me trottait dans la tête depuis un moment. Puisque le local était parfait et que ça fonctionnait bien avec les associés du Furco, nous avons décidé d’aller de l’avant. Le Parvis, lui, sera ouvert seulement le midi? Notre objectif est de l’ouvrir matin, midi et soir! Le Parvis ouvre dès sept heures le matin. Nous servons un café haut de gamme – notre barista est même allée suivre une formation en Oregon! – ainsi que des viennoiseries qui sont cuisinées sur place. Nous nous préparons pour l’ouverture de soir, qui se fera d’ici le printemps, quand tout sera à mon goût. Pour le moment, donc, nous sommes ouverts du lundi au vendredi, de 7 h à 15 h, et, bientôt, nous ouvrirons les soirs et les week-ends. Qu’est-ce qu’on retrouve au menu? Il y a six sortes de pizzas, autant de salades et une soupe. On peut manger sur place ou commander pour emporter. Le concept ressemble à celui de la Buvette chez Simone [où Éric Bélanger est aussi associé], c’est-à-dire que, sur le menu, vous encerclez ce que vous voulez et nous l’apportons sur des plateaux pour permettre le partage entre les convives. C’est parfait pour le midi. Cela nous permet de faire un service rapide en moins de 45 minutes. Nous proposons des pizzas romaines, qui ont une pâte plus épaisse et plus croustillante que la pizza napolitaine. Les recettes se veulent inventives. Il y a, par exemple, une pizza avec du boudin maison et des oignons caramélisés. Une autre est garnie de saumon fumé maison, de salade fraîche et d’huile citronnée. Vous avez un permis d’alcool? Oui. C’est un permis pour restaurant, donc il faut manger pour consommer de l’alcool. Nous proposons six bières en fut d’une microbrasserie québécoise. La carte des vins est restreinte, mais bien choisie : il y a douze bouteilles et au verre, nous proposons deux vins d’importation privée qui ont été créés spécialement pour nous. Le vrai bar, il est à côté; c’est le Furco. Ici, nous voulions créer une pizzeria conviviale où les prix sont abordables. Quelle est l’ambiance du Parvis? Nous avons voulu créer une ambiance un peu seventies. Nous souhaitions déménager l’esprit du Mile-End au centre-ville, parce qu’il n’y a pas vraiment d’établissement de ce genre ici. C’est le designer Zébulon Perron, aussi partenaire dans l’aventure, et moi-même qui avons pensé le décor qui comprend des références rétro et beaucoup de plantes. Quels autres projets avez-vous en tête pour le Parvis? Nous souhaitons avoir des places de terrasse sur la rue dès le printemps. La demande de permis a été faite. La terrasse serait ouverte du matin jusqu’à environ 21 h ou 22 h. Nous pourrions la garder ouverte jusqu’à 23 h, mais nous voulons nous assurer d’une bonne cohabitation avec le voisinage. Aussi, j’aimerais ajouter une serre sur le toit. Nous pourrions y faire pousser nos propres piments. Nous allons probablement commencer les travaux en mai. Quelle image vous vient en tête quand vous pensez au Quartier des spectacles? L’Église Unie Saint-James. J’aime beaucoup l’architecture et je venais souvent me promener dans le quartier pendant les travaux de revitalisation de l’église. C’est comme ça d’ailleurs que j’ai trouvé le local de la rue Mayor, derrière l’église, et que nous nous sommes installés ici. Café Parvis 433, rue Mayor

http://www.mercer.com/qualityoflivingpr#city-rankings Montréal figure assez bien pour les infrastructures en 13e position, et devant Toronto. Les infrastructures sont definis comme tel: 'electricity supply, water availability, telephone and mail services, public transportation, traffic congestion and the range of international flights from local airports'.

http://tmagazine.blogs.nytimes.com/2012/09/18/north-stars/ The Montreal neighborhood of Mile End, long a working-class Jewish enclave (and the namesake of two culty New York delis), has changed considerably in recent years, getting quietly but unmistakably hip, with dozens of restaurants, bars and boutiques now dotting its streets. Librairie Drawn & Quarterly The offshoot of a local publishing house, this shop attracts fans of graphic novels and art books with regular readings and workshops. 211, rue Bernard Ouest; (514) 279-2224; drawnandquarterly.com. Éditions de Robes The owner, Julie Pesant, believes every woman needs a good dress. She stocks mainly her own designs, many in black or white, all on-trend and priced at about $250. She’ll even alter them. 178, rue St.-Viateur Ouest; (514) 271-7676; editionsderobes.com. Royal Phoenix All are welcome at this gay bar, which also serves as an informal clubhouse for members of Montreal’s red-hot roller derby scene (mtlrollerderby.com). Other reasons to go: the music, the warm-weather terrace and the over-the-top poutine, which comes with pulled pork. 5788, boulevard St.-Laurent; (514) 658-1622; royalphoenixbar.com. Thierry Arnold Boulangerie Guillaume Boulangerie Guillaume This artisanal bakery’s bread is often described as the best in the city. Other delicious offerings include the sticky apple-caramel buns, white chocolate brioche and coffee from the local roaster Saint Henri (sainthenri.ca). 17, avenue Fairmount Est; (514) 507-3799; boulangerieguillaume.com. Les Montures A favorite of plugged-in stylists, this small shop specializes in dead stock and vintage eyeglasses and sunglasses. Though big names like Dior are represented, the owner, Nicolas Hamel, values style over pedigree, with a preference for specs from the 1960s and ’70s. 174, rue Bernard Ouest; (514) 507-8282; lesmontures.com. A version of this article appeared in print on 09/23/2012, on page M218 of the NewYork edition with the headline: North Stars.

STM plans to build solar-powered bus shelters Panels could be used to power lighting * and illuminate revenue-producing ads By Monique Beaudin, The GazetteFebruary 2, 2009 Montreal’s public-transit agency is planning to spend $14.4 million to buy 400 new bus shelters – some of which would use solar panels to provide electricity. The new shelters need an energy source to allow the Société de transport de Montréal to use new tools to provide customer service and advertising. In some cases the shelters would be powered by solar energy, in others the shelters would be linked into a local source of electricity. Several other cities – including London, Vancouver and Toronto – already have bus shelters that use solar panels to charge batteries that power their lighting systems. Blainville, north of Mont-real, put up four such shelters in October and plans to replace all its bus shelters with solar-powered ones by 2010, said spokesperson Yves Meunier. Blainville’s plan was to make their bus shelters self-financing, by using revenue generated from selling advertising in the shelters. For that they needed an energy source to illuminate the ads. “People selling advertising want the ads to be visible for a certain number of hours every day, especially during the winter,” Meunier said. Blainville’s bus shelters – which cost about $30,000 each – were designed and built by a local firm, Meunier said. The city will recycle the old shelters by selling them to other municipalities, he added. The STM also expects that by selling ad space in its new shelters they’ll pay for themselves over a 10-year period. While the STM has already tested several different kinds of solar-powered bus shelters, spokesperson Isabelle Tremblay said the agency hasn’t chosen a specific bus shelter model to buy yet. The transit agency is still waiting for the results of a bus-shelter design contest announced by Montreal Mayor Gérald Tremblay last September. Tremblay called on the city’s designers to come up with new ideas for five things – the Champs de Mars métro station, the eastern wall of the courthouse, bus shelters, taxis and temporary festival furniture. Design Montreal has not yet launched the contest, spokesperson Stéphanie Jecrois said yesterday. The agency is still meeting with its partners to determine how the contest will work, but she said the contest details should be announced with a few weeks. The contest will be held in 2009, she said. Meanwhile, at the STM, Tremblay said the agency will only go to tender for new bus shelters after the Design Montreal contest wraps up. The STM now has 2,977 bus shelters, serving about one-third of its bus stops. It would like to install 100 new bus shelters over the next two years, and 100 more each year from 2011 to 2013. mbeaudin@thegazette.canwest.com © Copyright © The Montreal Gazette

http://edition.cnn.com/CNNI/Programs/cnngo/?iref=allsearch CNNGo Wednesday 8 August at 1030 BST / 1130 CET and 1730 BST / 1830 CET Saturday 11 August at 0530 BST / 0630 CET and 1930 BST / 2030 CET Sunday 12 August at 1230 BST / 1330 CET Duration: 30 minutes CNNGo visits Montreal in August This month 'CNNGo' sets its sights on Montreal, exploring the contemporary art scene around 'The Mile End' with local artist Gene Pendon. With summer in full swing, the programme takes viewers to the vibrant and bustling Jean Talon market, and samples the local produce. Talented singer and former child prodigy Nikki Yanofsky welcomes CNN to the internationally renowned Montreal Jazz Festival. And in this high flying city – that many street performers, acrobats and entertainers call home – cameras are there for the opening night of a thrilling new show from 'Les 7 Doigts de la Main.' All that, plus a stroll through the trendy Plateau district, as well as a bike ride over one of North America's most significant waterways.

http://www.montrealgazette.com/business/Deal+would+bring+Citytv+Montreal/6560252/story.html Rogers Media buys Montreal TV station Metro 14 By Steve Faguy, The Gazette May 4, 2012 9:36 AM MONTREAL - Citytv could be coming to Montreal soon. Rogers Media announced on Thursday that it had reached a deal to purchase Montreal multicultural television station Metro 14 (CJNT) from Toronto-based Channel Zero Inc. Rogers plans to turn CJNT into a Citytv station, expanding the national network’s presence. Citytv has stations in Toronto, Winnipeg, Calgary, Edmonton and Vancouver. The company also announced that it will sign long-term affiliation deals with three stations owned by the Jim Pattison Group: CHAT-TV in Medicine Hat, Alta., CJFC-TV in Kamloops, B.C., and CKPG-TV in Prince George, B.C. All three have been Citytv affiliates since 2009, and are, like CJNT, former members of the Canwest CH/E! network. Rogers also announced in January it would purchase educational regional cable channel Saskatchewan Communications Network from Bluepoint Investment Corp. and rebrand it as Citytv Saskatchewan. “Citytv, up until recently, has only been available in 7.2 million homes, and when we buy and produce programming, the cost of that is similar to what other networks pay when they buy national footprint rights,” Rogers Media president of Broadcast Scott Moore told The Gazette. “It’s essential for us to expand our footprint.” Though the new deals give Citytv good coverage west of Montreal, there are no stations east of the city. Moore said there are no specific plans for expansion into Atlantic Canada, but said it represented a gap in the network and “we’ll continue to work on that in the next six to 12 months.” The deal must be approved by the Canadian Radio-television and Telecommunications Commission before Rogers Media can take over. In the meantime, Rogers and Channel Zero have signed an affiliation agreement that will see Citytv programming on CJNT as of June 4. Citytv programs include American shows like New Girl, Modern Family and How I Met Your Mother, as well as original productions like Canada’s Got Talent and the upcoming The Bachelor Canada. Channel Zero president Cal Millar told The Gazette the station also will air some programming from Rogers’s OMNI network of ethnic stations. Channel Zero also owns CHCH television in Hamilton, Ont. It purchased CHCH and CJNT from Canwest for $12 in 2009 after the struggling company (which also owned The Gazette) decided to shut down its secondary network of conventional television stations. Moore said he would not comment about the purchase price, but joked that it was “more than double” the $12 Channel Zero paid for it. CJNT’s licence requires it to broadcast 14 hours of local ethnic programming each week and at least 75 per cent ethnic programming from 8 to 10 p.m. But after the sale from Canwest to Channel Zero, the station stopped producing its ethnic programming. It has since been airing reruns – some of them three years old – of its local ethnic shows. The rest of its schedule is made up of music videos, foreign films and some low-rated U.S. programming whose Canadian rights haven’t been scooped up by CTV, Global or Citytv. Moore did not comment on any changes Rogers might propose for CJNT’s licence, or whether it would even continue to be a multi-ethnic station. “We’ll be spending the next couple of months in Montreal, speaking with stakeholders in the community,” he said. As far as local programming, Moore said it was still too early to tell, but it was unlikely the station would produce a daily newscast. “I don’t know that Montreal needs another English-language supper-hour newscast,” he said. Citytv stations outside of Toronto meet local programming requirements with morning shows. Moore said it was “a good bet” that a similar strategy would be used in Montreal. Millar said the sale was bittersweet for Channel Zero, which he said had been making progress building its audience with a new morning show that’s heavy on music videos. He said Rogers has been trying to buy the station since “shortly after we acquired it” and made multiple offers. But this time, “Rogers was more determined than ever to expand their national reach,” Millar said. “It was far more valuable to them at that point than to us.” Channel Zero had been in talks with a local producer to bring back some local ethnic programming this fall. Millar said he doesn’t know if those plans will continue as the company waits for a decision on the acquisition. Rogers said it would expect a decision by the CRTC in the fall. sfaguy@montrealgazette.com Read more: http://www.montrealgazette.com/Rogers+Media+buys+Montreal+station+Metro/6560252/story.html#ixzz1tuid8rb0

Ottawa is preparing to crack down on employment-insurance recipients who are not seeking work in areas where employers are forced to bring in foreign workers to fill jobs. Immigration Minister Jason Kenney said Wednesday the government wants to reduce disincentives to work by creating a “greater connection” between the EI program and the temporary foreign worker program, which is under Mr. Kenney’s purview. “What we will be doing is making people aware there’s hiring going on and reminding them that they have an obligation to apply for available work and to take it if they’re going to qualify for EI,” Mr. Kenney told the National Post editorial board on Wednesday. He was touting immigration reforms that will try to streamline the entry of immigrants and foreign workers, favouring entrepreneurs, innovators and those with high quality professional credentials. The reforms would require unemployed Canadians to accept local jobs that are currently being filled by temporary foreign workers. “Nova Scotia province-wide has 10% unemployment, but the only way Christmas tree operators can function in the Annapolis Valley is to bring in Mexicans through this agricultural worker program,” he said, also pointing to the increased number of Russians working in Prince Edward Island fish processing plants and Romanians working at the Ganong chocolate factory in New Brunswick. “Even on the north shore of New Brunswick, which has the highest unemployment in the province, the MPs keep telling me the employers definitely need more temporary workers. What’s going on here?” Minister of Human Resources Diane Finley will soon address the issue in further detail, Mr. Kenney said. The coming changes were first revealed in last month’s federal budget, which proposed spending $387-million over two years to align EI benefit amounts with local labour market conditions. The government will consider more measures to ensure the Temporary Foreign Worker Program will continue to meet those labour needs by “better aligning” the program with labour demands, according to budget documents. At the same time, businesses will have to have made “all reasonable efforts” to recruit from the domestic labour force before they seek workers from abroad. When an employer looks to the government for a labour market opinion, which is one step in getting approval to hire foreign temporary workers, Mr. Kenney said the government will soon point out the number of people on EI in that employer’s region and ensure the people collecting EI are aware of that job opportunity. “If you don’t take available work, you don’t get EI,” he said. “That’s always been a legal principle of that program.” http://news.nationalpost.com/2012/04/18/conservatives-want-unemployed-to-fill-jobs-going-to-temporary-foreign-workers-jason-kenney/

"][/url] http://blogs.montrealgazette.com/2011/10/24/montreal-graffiti-artists-paint-five-storey-ndg-masterpiece-dubbed-our-lady-of-grace/

(Courtesy of Monocle) She is actually 1st of 5 people Monocle profiled for "city voices" for their July/August issue.

(Courtesy of the National Post) I thought there was a topic on this already I searched and I didn't see anything pop up.

There are an article in The Gazette (which I shall put after this post) that speaks about Montreal embracing open data. Also, anybody every been to Ottawa, Quebec? lol How Open Data Initiatives Can Improve City Life by Aliza Sherman Major city governments across North America are looking for ways to share civic data — which normally resides behind secure firewalls — with private developers who can leverage it to serve city residents via web and mobile apps. Cities can spend on average between $20,000 and $50,000 — even as much as $100,000 — to cover the costs of opening data, but that’s a small price to pay when you consider how much is needed to develop a custom application that might not be nearly as useful. Here are a few examples of initiatives that are striving to make city governments more efficient and transparent through open data. 1. Apps4Ottawa – Ottawa, Quebec Careful to adhere to security and privacy regulations for their open data program, the City of Ottawa started sharing data in several areas: geo-spatial (roadways, parks, runways, rivers, and ward boundaries); recreation facilities; event planning; civic elections data; and transit, including schedules. Other data the city is pursuing includes tree inventory, collections schedules for garbage, recycling and compost, and bike and foot paths. Ottawa aligned their first open data contest, Apps4Ottawa, with the school year (September 2010 to January 2011 ) to involve colleges and universities as well as residents and local industry. Categories for the contest included “Having Fun in Ottawa,” “Getting Around,” “Green Environment/Sustainability,” “Community Building,” and “Economic Development.” The winner is scheduled to be announced later this evening. Guy Michaud, chief information officer for the City of Ottawa, said their open data efforts have already spurred economic development and is meant to be good for local entrepreneurs. The city receives no revenue through the apps, and the developers can sell what they create. In turn, Ottawa residents get improved services from applications that are created, with better access to city data and more user-friendly formats and platforms. 2. CivicApps.org – Portland, Oregon After tracking Vivek Kundra’s efforts at the federal level with data.gov, Portland, Oregon launched CivicApps.org, a project initiated out of the mayor’s office to bring a more localized approach to the open data movement. Skip Newberry, economic policy advisor to the mayor, say that the project’s main objective is to improve connections and the flow of information between local government and its constituents, as well as between city bureaus. To call attention to the release of public data, they also launched an app design contest, highlighting the tech talent in Portland’s software community. According to Rick Nixon, program manager for the Bureau of Technology’s Open Data Initiative for the city of Portland, CivicApps.org took a more regional approach to cover the multiple layers of local government: County, Metro, TriMet, and the City of Portland, all of which collect and maintain various kinds of public data. Data sets released include regional crime, transit, infrastructure (i.e. public works), and economic development programs. Additional projects, such as the PDX API, have been launched in order to make the raw data from CivicApps more useful to developers. In addition to developer-specific apps, a number of transit related apps — bike, train, bus, mixed modes — were also developed. A very popular and established transit app, PDXBus, was re-released as open source under the rules of the CivicApps contest. Other popular apps helped provide residents greater awareness of their surroundings such as where to find heritage trees, where to find urban edibles, and where to locate each other during disaster relief efforts. 3. CityWide Data Warehouse – Washington, DC For years, the District of Columbia provided public access to city operational data via the Internet. In keeping with the mayor’s promise to be transparent, the program CityWide Data Warehouse was launched, and provides citizens with access to over 450 datasets from multiple agencies. The first two datasets released were service requests from the mayor’s call center, including trash pickup, pot hole repair, street light repair, snow removal, parking meter issues and crime data. According to David Stirgel, program manager for Citywide Data Warehouse, the project looks for data that be of interest to the widest possible audience and which will remain reusable over time. Some of the applications that have come out of the program include Track DC, which tracks the performance of individual District agencies, and summary reports that provide public access to city operational data. Some of the applications built by companies and individuals using the data include Crime Reports and Every Block. In 2008, the District Mayor’s office, the District of Columbia’s Office of the Chief Technology Officer, and digital agency iStrategyLabs launched Apps for Democracy, an open code app development contest tapping into District data that cost $50,000 and generated 47 apps. The contest was repeated in 2009. Over 200 ideas and applications were submitted, and the winner was an iPhone and Facebook app called Social DC 311. It could be used to submit service requests, such as reporting potholes and trash problems. An honorable mention was given to FixMyCityDC. Unfortunately, neither app is maintained today. 4. NYC Data Mine – New York, NY NYC BigApps 2.0 is part of an initiative to improve the accessibility, transparency, and accountability of city government. According to Brandon Kessler, CEO of ChallengePost, the company and technology powering the NYC BigApps 2.0 Software Challenge, Mayor Bloomberg challenged software developers to use city data from the NYC.gov Data Mine to create apps to improve NYC, offering a $20,000 in cash awards to the winners. The second annual challenge closed its call for submissions at the end of January 2011 and opened the vote to the public. Voting ends on March 9. Requirements included that the software applications be original and solely owned by the entrants, that they use at least one of the datasets from the NYC.gov Data Mine, and be free to the public throughout the competition and for at least one year after the challenge. The panel of judges reads like a “who’s who” of New York tech luminaries, and includes Esther Dyson of EDVenture, Fred Wilson of Union Square Ventures, Jack Dorsey of Square and Twitter, and Kara Swisher of All Things Digital. One of the first year’s winning apps was WayFinder, an augmented reality Android app which allows users to point their phone in a direction and see which subways and Path trains are in front of them. 5. DataSF – San Francisco, California Like other city governments, San Francisco’s goal for their DataSF program was to improve transparency and community engagement as well as accountability. Ron Vinson, director of media for the city’s Department of Technology also stated potential for innovation in how residents interact with government and their community. With an emphasis on adhering to privacy and security policies, the city can stimulate the creation of useful civic tools at no cost to the government. Before launching, they reached out to Washington, DC to identify the most popular datasets, and learned that 20% of the datasets represented over 80% of the downloads. With this information, they went out first with crime, 311, and GIS data. They also allowed the public to request data through a submissions mechanism on the website where others could vote on their suggestions. This input is now required reading for the city administrator thanks to an executive directive and open data legislation. Since launching in August 2009, DataSF has accumulated over 60 applications in its showcase. According to Vinson, the city stays engaged with their tech community by participating in local unconferences and meetups. http://mashable.com/2011/02/15/how-open-data-initiatives-can-improve-city-life/

Toronto et Montréal, vues par des touristes anglais.... http://www.mirror.co.uk/advice/travel/north-america/2010/12/18/the-big-maple-lawrence-goldsmith-samples-the-delights-of-a-canadian-adventure-115875-22791873/

(Courtesy of The Montreal Gazette)

Montreal by the mouthful POSTED: October 7, 2010 It's a city that loves France, but its tastes lean to the rich local bounty. By Craig LaBan Inquirer Restaurant Critic http://www.philly.com/philly/restaurants/20101007_Montreal_by_the_mouthful.html?viewAll=y