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  1. <header id="page-header"> 23/11/2016 Mise à jour : 23 novembre 2016 | 16:25 Une grande exposition d’art public sur la rue Sherbrooke pour le 375e de Montréal Par Rédaction Métro </header> <figure class="current-photo"> <figcaption> La balade pour la paix Gracieuseté <nav> Previous photo Next photo </nav> </figcaption> </figure> <figure> </figure> <figure> </figure> Dans le cadre du 375e anniversaire de Montréal, du 50e anniversaire d’Expo 67 et du 150e anniversaire du Canada, une grande exposition d’art public prendra forme sur la rue Sherbrooke à Montréal en 2017. La Balade pour la Paix, un musée à ciel ouvert sera une exposition d’envergure internationale conçue et réalisée par le Musée des beaux-arts de Montréal, le musée McCord et les universités Concordia et McGill. Elle fera un kilomètre de long sur la rue Sherbrooke, traçant un itinéraire entre le musée McCord et le nouveau Pavillon pour la Paix Michal et Renata Hornstein du Musée des beaux-arts de Montréal. Tout au long de ce kilomètre, les visiteurs pourront admirer 29 sculptures et installations d’artistes canadiens et étrangers ainsi qu’une quarantaine de photographies d’artistes montréalais. De plus, les drapeaux de quelque 200 pays du monde et des 13 provinces et territoires du Canada flotteront au vent au-dessus de la rue Sherbrooke, le tout rappelant le Place des Nations d’Expo 67. La Balade sera ouverte du 29 mai au 27 octobre prochain, soit pendant cinq mois. Une grande exposition d’art public sur la rue Sherbrooke pour le 375e de Montreal | Metro
  2. <header id="page-header"> 24/10/2016 Mise à jour : 24 octobre 2016 | 19:48 Ajuster la taille du texte [h=1]KM3: un parcours d’une vingtaine d’œuvres d’art public pour le 375e[/h] Par Laurence Houde-Roy Métro </header> <figure> <figcaption> Paquet de lumière, de Gilles Mihalcean, est l'une des deux œuvres d'art permanentes du parcours KM3. Elle sera installée en face de la Maison symphonique de Montréal au coût de 672 603$. </figcaption> </figure> Un parcours d’une vingtaine d’œuvres d’art public temporaires et permanentes intitulé KM3 sera créé à l’automne prochain et installé sur l’ensemble du territoire du Quartier des spectacles, à l’occasion du 375e anniversaire de Montréal. Ces créations, principalement installées autour de l’axe de la rue Sainte-Catherine, seront sur la place publique du 31 août au 15 octobre 2017. Décrit comme le «plus important événement d’art public temporaire extérieur à Montréal», le projet orchestré par le Partenariat du Quartier des spectacles invitera des créateurs québécois «reconnus pour leur contribution dans le domaine de l’art public, mais aussi des créateurs qui auront la possibilité de s’exprimer pour la première fois dans l’espace public» à créer ces oeuvres. L’appel à ces créateurs et les commandes seront passés au courant de la prochaine année. <aside class="related-articles"> </aside> «L’événement mettra en valeur les arts visuels, l’art urbain, l’art numérique, le design et l’architecture en occupant des murs d’édifices, des places publiques et des lieux inusités», indique le Partenariat du Quartier des spectacles. Paquet de lumière, de Gilles Mihalcean, sera installée en face de la Maison symphonique de Montréal Seulement deux oeuvres de ce parcours ont été dévoilées lundi. Contrairement au reste des oeuvres, celles-ci seront permanentes et seront acquises par la Ville de Montréal. Elles seront situées sur la rue Émery, en face du cinéma Quartier Latin, et sur le Parterre, en face de la Maison symphonique de Montréal. Une troisième oeuvre permanente sera dévoilée. À la fin de cette édition, les installations artistiques iront rejoindre la collection permanente du Partenariat du Quartier des spectacles et pourront être présentées ailleurs dans le monde. Lux Obscura, de Jonathan Villeneuve, sera installée sur la rue Emery, en face du cinéma Quartier Latin Le Quartier des spectacles souhaite faire de KM3 un événement bisannuel et en faire une offre touristique importante. La scénographie de cette première édition a été confiée à Melissa Mongiat et Mouna Andraos, à qui l’on doit notamment les fameuses 21 Balançoires. <aside class="stat-highlight"> 2,5M$ L’aide financière de 2,5 M$ provenant de la Ville de Montréal et le gouvernement du Québec permettra la réalisation de plusieurs oeuvres temporaires (1,5 M$), puis la création de deux nouvelles oeuvres d’art public permanentes (1 M$) acquises par la Ville de Montréal. </aside> KM3: un parcours d’une vingtaine d’œuvres d’art public pour le 375e | Metro
  3. Technoparc montreal

    MONTREAL, July 6, 2016 /CNW Telbec/ - Technoparc Montreal is pleased to present its activity report of 2015 via its annual report. The annual report describes the activities of 2015, a definite year of building! During the year, three major industrial projects (amongst the largest in Greater Montreal) were launched. These projects are the installation of the North American headquarters of Green Cross Biotherapeutics, the installation of ABB's Canadian headquarters and the construction of Vidéotron's 4Degrés data centre. These three major projects can be added to the list of companies that have chosen to locate their activities at the Technoparc. According to an analysis conducted by E&B DATA in 2015, the future construction of the new buildings at the Technoparc will generate $580 million to Quebec's GDP, $109 million to Quebec's public administration revenues and $37 million to federal public administration revenues. According to Carl Baillargeon, Technoparc Montreal's Director – Communications & Marketing "These projects represent the creation of more than 1,000 new jobs at the Technoparc, an investment of $400 million and the addition of 600 000 square feet to the real estate inventory. These are indeed excellent news for the economy of Montreal and the province of Quebec. This also confirms Technoparc's role as an important component of the economical development. In addition, the recent announcement of the proposed Réseau Électrique Métropolitain (electric train) by the CDPQ Infra, in which a station is planned at the Technoparc, reinforces the strategic location of the site and will thereby facilitate the access to the site via transportation means other than the car. " Technoparc Montréal is a non-profit organization that provides high-tech companies and entrepreneurs with environments and real-estate solutions conducive to innovation, cooperation and success. For more information, please see the website at http://www.technoparc.com. The 2015 annual report can be consulted online at: http://www.technoparc.com/static/uploaded/Files/brochures-en/Rapport-2015-EN_WEB.pdf SOURCE Technoparc Montréal
  4. http://www.icisource.ca/commercial_real_estate_news/ When NIMBYism is warranted, and when it isn’t Of course, the question is whether a proposed development, infill project or new infrastructure build really does pose a risk to these cherished things. Developers and urban planners must always be cognizant of the fact that there is a segment of the population, a fringe element, who will object to just about anything “new” as a matter of principle. I’ve been to many open houses and public consultations for one proposed project or another over the years. There is almost always that contingent of dogged objectors who invariably fixate on the same things: Parking – Will there be enough if the development increases the population density of the neighbourhood or draws more shoppers/workers from elsewhere? Traffic – Will streets become unsafe and congested due to more cars on the road? Transit – Will this mean more busses on the road, increasing the safety hazard on residential streets, or conversely will there be a need for more? Shadowing – is the new build going to leave parts of the neighbourhood stuck in the shade of a skyscraper? These are all legitimate concerns, depending on the nature of the project in question. They are also easy targets for the activist obstructionist. Full and honest disclosure is the best defence Why? Because I see, time and again, some developers and urban planners who should know better fail to be prepared for objections rooted on any of these points. With any new development or infrastructure project, there has to be, as a simple matter of sound public policy, studies that examine and seek to mitigate impacts and effects related to parking, traffic, shadowing, transit and other considerations. It therefore only makes sense, during a public consult or open house, to address the most likely opposition head on by presenting the findings and recommendations of these studies up front in a clear and obvious manner. But too often, this isn’t done. I’ve was at an open house a few years ago where, when asked about traffic impact, the developer said there wouldn’t be any. Excuse me? If your project adds even one car to the street, there’s an impact. I expect he meant there would be only minimal impact, but that’s not what he said. The obstructionists had a field day with that – another greedy developer, trying to pull the wool over the eyes of honest residents. This is a marketing exercise – treat it like one This is ultimately a marketing exercise – you have to sell residents on the value and need of the development. Take another example – a retirement residence. With an aging population, we are obviously going to need more assisted living facilities in the years to come. But in this case, the developer, speaking to an audience full of grey hairs, didn’t even make the point that the new residence would give people a quality assisted-living option, without having to leave their community, when they were no longer able to live on their own. I also hear people who object to infill projects because they think their tax dollars have paid for infrastructure that a developer is now going to take advantage of – they think the developer is somehow getting a free ride. And yet, that developer must pay development charges to the city to proceed with construction. The new build will also pay its full utility costs and property taxes like the rest of the street. City hall gets more revenue for infrastructure that has already been paid for, and these additional development charges fund municipal projects throughout the city. Another point, often overlooked – when you take an underperforming property and redevelop it, its assessed value goes up, and its tax bill goes up. The local assessment base has just grown. City hall isn’t in the business of making a profit, just collecting enough property tax to cover the bills. The more properties there are in your neighbourhood, the further that tax burden is spread. In other words, that infill project will give everyone else a marginal reduction on their tax bill. It likely isn’t much, but still, it’s something. Developers must use the facts to defuse criticism Bottom line, development is necessary and good most of the time. If we didn’t have good regulated development, we would be living in horrid medieval conditions. Over the last century and a bit, ever growing regulation have given us safer communities, with more reliable utilities and key services such as policing and fire. Yes, there are examples of bad development, but if we had none, as some people seem to want, no one would have a decent place to live. It just astonishes me that developers and urban planners don’t make better use of the facts available to them to defuse criticism. It’s so easy to do it in the right way. Proper preparation for new development public information sessions is the proponent’s one opportunity to tell their story, and should not be wasted by failing to get the facts out and explaining why a project is a good idea. To discuss this or any other valuation topic in the context of your property, please contact me at jclark@regionalgroup.com. I am also interested in your feedback and suggestions for future articles. The post Why do public planning projects go off the rails? appeared first on Real Estate News Exchange (RENX). sent via Tapatalk
  5. http://ici.radio-canada.ca/regions/quebec/2016/04/06/002-marche-public-expocite-gestionnaire.shtml <header style="margin: 0px 0px 30px; color: rgb(0, 0, 0); font-family: Arial, helvetical, sans-serif; font-size: 14px; line-height: 18.2px;">ÉCONOMIE Le nouveau marché public d'ExpoCité dévoilé <time datetime="2016-04-06T15:16:37Z" data-datetimelastpublished="2016-04-06T16:52:40Z" style="color: rgb(119, 119, 119); display: block; font-family: arial; font-size: 12px; margin: 15px 0px 10px; text-transform: uppercase;"> </time></header>
  6. via Blouin Art Info : 10 Must-See Warped Public Art Sculptures in Montreal BY Low Lai Chow | March 28, 2016 If cities were people, Montreal would be the rebellious, off-kilter kid who steals all the thunder at a party. Basking in diversity as the lively cultural capital of Canada (Ottawa is Canada's actual capital city, FYI), Montreal has a social calendar that is perpetually packed with events and festivals. Rule of thumb: if there is a party in town, know that there are a hundred more you haven't heard about. With over 315 public artworks in the municipal collection, Montreal also has some incredible public sculptures around town, from parks to libraries. Culture+Travel picks out ten of the most warped public art to seek out in the City of Festivals. See pictures of the artworks here. - Révolutions (2003), Michel de Broin | Rifting on the impossible, Montreal-based sculptor de Broin takes visual inspiration from the ubiquitous outdoor staircases seen throughout the city for this loopy 8.5-meter high Moebius strip out of aluminum and galvanized steel. The artist has said of the enigmatic work, “The staircase makes us think of what returns without repeating, transformed in its cycle. We can all project ourselves into this curved space and enter the game of revolutions.” In short, this work is infinity in poetry. Where: Parc Maisonneuve-Cartier, behind Metro Papineau metro station in Ville-Marie - Le Malheureux Magnifique (1972), Pierre Yves Angers | Cement-covered and huddled over in a humanistic form, Yves Angers' 1972 sculpture is a landmark that marks the entrance of Montreal’s bustling Latin Quarter. First installed in Place Pasteur in 1973, it was moved to the front of Alcide-Chaussée Building in 1991. Angers is said to have been inspired by the works of Rodin; his accompanying art says, "À ceux qui regardent à l'intérieur d'eux-mêmes et franchissent ainsi les frontières du visible” (French for 'To those who look inside themselves and thus cross over the borders of the visible'). Where: 385, Rue Sherbrooke Est, at the intersection of Sherbrooke and Saint-Denis streets in Le Plateau-Mont-Royal - Theatre for Sky Blocks (1992), Linda Covit | Installed on the shore of Lake Saint-Louis, Covit's minimalist work dwells on the environment. It was first exhibited in 1992 at the first Salon international de la sculpture extérieure. With the water and the sky in the background, three monolithic steel columns have a photograph of clouds silk screened on them. It all begs the questions: What is real? What is fictitious? Where: Parc Fort-Rolland in Lachine - Anamorphose D'Une Fenetre, Claude Lamarche | From afar, Claude Lamarche's artwork resembles colorful scribbles that seem to have leapt off the tip of a pen to interact with the exteriors of the Maison de la culture Mercier building in real life. A red arrow-shaped sculpture points at the upper left-hand corner of the wall while a blue arrow twirls one corner of it. A yellow window frame hangs on one wall, while steel rods and tubes prop up the sides. Where: 8105, Rue Hochelaga, at Maison de la culture Mercier in Mercier–Hochelaga-Maisonneuve - Monica (1985), Jules Lasalle | Evoking the gigantic head sculptures of Easter Island and excavated archaeological remains, sculptor and modeller Jules Lasalle's larger-than-life 3D portrait of a woman with a smile on her face is deliberately fragmented, denoting the passing of time. Lasalle created the artwork in 1985 at the first Lachine, Carrefour de l’Art et de l’Industrie sculpture symposium. Where: Promenade Père-Marquette in Lachine - From A (1986), Takera Narita | Comprising three parts of a granite and mortar fluted column to reference ancient Greek civilization, this unusual ruins-like sculpture by the late Japanese artist Takera Narita appears to pop up from the ground and sink back into it. It alludes to the cycle of history, with the title hinting at a path between two points as a mathematical formula. Narita created the work for the second Lachine sculpture symposium L’an II – Lachine, carrefour de l’art et de l’industrie in 1986. Where: Parc René-Lévesque in Lachine - La vélocité des lieux (2015), BGL | Completed in 2015 in conjunction with the redevelopment of the Henri-Bourassa–Pie-IX intersection in Montréal-Nord borough is this work by Jasmin Bilodeau, Sébastien Giguère, and Nicolas Laverdière of Québec collective BGL. It comprises five bus-like forms on eight steel columns. Denoting the ebbs and flow of human activity and community, the cheerful 19-meter high sculpture looks like a Ferris wheel right out of an amusement park in frenzied motion. In reality, this static artwork doesn't actually move. BGL also recently represented Canada at the 56th Venice Art Biennale. Where: Carrefour Henri-Bourassa–Pie-IX in Montréal-Nord - Le Mélomane (2011), Cooke-Sasseville | Based in Québec City, the creative duo of Jean-François Cooke and Pierre Sasseville has a taste for the absurd. Evidence? This cheeeky bronze sculpture shows an ostrich sticking its head into a gramophone horn, illustrating the stronghold of music and new realities. Where: Parc François-Perrault in Villeray–Saint-Michel–Parc-Extension - Site/Interlude (1994), David Moore | Shaped like gigantic legs, five steel wire structures filled with large stones stand starkly, deliberately spread out to coerce viewers to walk from one to the next so as to see the full work. Dublin-born and Montréal-based artist David Moore took inspiration from seeing how the legs and feet were often the only vestiges left standing from the ancient statues of Greece's archaeological sites. First displayed in Montréal's Old Port, Moore's work is a reflection on the passage of time and on progress. Where: Parc René-Lévesque in Lachine. - Regard Sur Le Fleuve (1992), Lisette Lemieux | Situated on the shore of Lake St. Louis, Arthabaska-born artist Lisette Lemieux's large billboard-like work includes incisive cutouts of the word 'FLEUVE' (French for 'river') and the word’s reflection in water, so that actual river water appear to fill up the cutout parts. Both a wall that obstructs the river view, as well as announces its existence, the work urges viewers to rediscover the river. Where: Parc Stoney-Point in Lachine
  7. This is a proposed plan for Toronto for the next 15 years. (Courtesy Toronto Star)
  8. via La Voix Pop : 9/01/2016 Mise à jour : 19 janvier 2016 | 7:00 Maison des jeunes de Saint-Henri: 900 000$ pour un nouveau toit Par André Desroches TC Media La maison des jeunes serait construite en face de la caserne de pompiers, sur une partie du terrain occupé présentement par le stationnement public de la Ville de Montréal. André Desroches / TC Media La maison des jeunes La Galerie de Saint-Henri devra déménager dans deux ans. Elle souhaite le faire sur la Place Saint-Henri, dans un bâtiment construit au coût de 900 000$ qui deviendrait l’élément d’un pôle jeunesse dans ce secteur. L’organisme fondé en 1980 devra quitter à l’été 2018 le local qu’il loue depuis plus de trente ans sur la rue Notre-Dame (au 3643). Le propriétaire a d’autres projets pour le bâtiment. La maison des jeunes serait construite en face de la caserne de pompiers, sur une partie du terrain occupé présentement par le stationnement public de la Ville de Montréal. Le bâtiment de deux étages aurait une superficie totale de 467 mètres carrés. Les espaces pour les activités des jeunes seraient aménagés au rez-de-chaussée. À l’étage, il y aurait des bureaux pour le personnel ainsi que des salles pour des réunions et les rencontres d’aide aux devoirs. Les plans prévoient une terrasse sur le toit pour des activités d’agriculture. «Nous visons un toit vert», signale Cathy Anglade. Créer un pôle jeunesse Pour développer le projet, l’organisme bénéficie de l’appui de l’arrondissement du Sud-Ouest, qui souhaite repenser ce lieu névralgique. «Nous voulons revoir les aménagements de la Place Saint-Henri. On voudrait en faire un pôle jeunesse», explique le maire Benoit Dorais, rappelant la présence dans cette zone de l’école secondaire Saint-Henri, des Loisirs Saint-Henri et de l’école primaire Ludger-Duvernay. «Nous voulons faire de la place un pôle public comme quand elle a été créée», ajoute le maire, mentionnant qu’un exercice de réflexion sur l’aménagement de la place ayant réuni des universitaires s’est tenu en 2013. Selon lui, la population en général va y trouver son compte. Campagne de financement Benoit Dorais est en discussion avec la ville-centre afin de conclure un bail de longue durée pour le terrain convoité. «Nous voudrions signer une entente avec la Ville pour une emphytéose. Ça avance», indique-t-il. Mais pour que la Ville puisse voter en faveur du projet, il faut qu’il soit viable financièrement». La maison de jeunes doit recueillir près de 1 M$. Pour y arriver, l’organisme doit dénicher des partenaires majeurs. «Nous allons lancer notre campagne en février auprès des entreprises et des commerces», annonce Cathy Anglade. L’organisme ciblera également les fondations. La population pourra appuyer le projet à sa façon lors d’activités grand public de collecte de fonds. Chaque année, environ 150 jeunes âgés de 11 à 18 ans participent aux activités de la maison La Galerie.
  9. Revitalisation de la rue Saint-Viateur: des bancs œuvres d’art à 5000 $ MONTRÉAL – Alors qu’un nouveau banc public coûte généralement entre 1000 $ et 1700 $, l’arrondissement du Plateau Mont-Royal fera l’achat de 13 bancs à 5000 $ chacun pour revitaliser la rue Saint-Viateur. «Ces bancs sont des œuvres d’art en bois, alors oui c’est cher pour un banc, mais ce n’est pas cher pour une œuvre d’art, lorsqu’on commande une œuvre au Bureau d’Art Public, c’est environ 150 000 $», s’est défendu Luc Ferrandez, maire de l’arrondissement du Plateau Mont-Royal, lundi soir au conseil d’arrondissement, interpelé par Suzanne Craig, une résidente. «Je trouve que c’est nettement exagéré surtout dans une période d’austérité et alors que Saint-Denis, Saint-Laurent et Mont-Royal sont beaucoup plus en demande», a souligné la citoyenne qui vit dans le quartier depuis 35 ans. Style bohème Dans l’ordre du jour, le nouveau mobilier y est décrit comme ayant «un style de la clientèle d'artistes et de bohème de cette partie du quartier». «Ce sont des pièces sculptées à la main, à même une seule bille de bois», a ajouté Jean-François Éthier, artisan-ébéniste de Brun Bois qui a obtenu le contrat. «Ce sera une finition au shou sugi ban, ce qui permet une meilleure résistance à l’extérieur», a poursuivi l’artisan connu pour ses participations aux émissions «Méchant changement» à VRAK TV et de «Sauvez les meubles!» à Canal Vie. Créer une signature En misant sur des œuvres d’art plutôt que sur du mobilier traditionnel, l’arrondissement espère revitaliser et donner une signature au coin de la rue Saint-Viateur et de l’avenue de l’Esplanade, où les 13 bancs seront installés à partir de mai. En été 2013, des bancs d’art public avaient aussi été installés au coin des rues Fairmount et Clark, une dépense d’environ 3000 $ l’unité, mais surtout un vrai succès, selon le maire. «L’impact commercial est gigantesque et l’achalandage touristique énorme, a mentionné M. Ferrandez. Notre pari c’est que oui, il y aura le même impact sur Saint-Viateur.» Moins cher dans Rosemont L’été dernier, Rosemont a aussi misé sur son mobilier urbain pour animer une artère commerciale, avec la transformation de trois bancs sur la rue Masson. Mais l’arrondissement n’a pas déboursé d’argent, en procédant plutôt au remplacement des bancs en résine pour des bancs en bois, qui ont été peints par un artiste du quartier. La SDC Promenade Masson a pour sa part investi 3000 $ dans le projet. Prix pas définitif Enfin, le contrat de 65 558,75 $ octroyé à Brun Bois pour la fabrication de ces 13 bancs ne serait pas définitif, mais plutôt «maximal» puisque l’arrondissement «entend négocier encore pour réduire le coût». «On fait le choix de l’achat local et durable, c’est normal que ça coute un peu plus cher», a souligné Marianne Giguère, conseillère d’arrondissement pour le district de De Lorimier. L’arrondissement n’a pas souhaité nous fournir des croquis puisqu’ils n’étaient pas finalisés.
  10. Marché Public de Longueuil (2014)

    Situé dans l'arrondissement St-Hubert, à côté de l'aéroport. Photos: Construction Vergo
  11. Oslo Barcode Projet

    From Wikipedia, the free encyclopedia The Barcode Project is a section of the Bjørvika portion of the Fjord City redevelopment on former dock and industrial land in central Oslo. It consists of a row of new multi-purpose high-rise buildings, due to be completed in 2014. The developer is marketing the project as "The Opera Quarter." There has been intense public debate about the height and shape of the buildings. video from Kristian Larsen
  12. 'Iconic' park will rise from former St-Michel dump Kevin Mio, Montreal Gazette More from Kevin Mio, Montreal Gazette Published on: August 28, 2015 | Last Updated: August 28, 2015 3:32 PM EDT What was once a quarry and garbage dump that has marred the city’s St-Michel district for decades will soon become one of Montreal’s — if not the world’s — most iconic parks, Mayor Denis Coderre said on Friday. The St-Michel Environmental Complex will be transformed into the city’s second-largest park, behind Mount Royal, beginning with several new sections that are to be opened to the public for the first time in 2017, in time for the city’s 375th birthday. The whole project is slated to be completed by 2023, Coderre said. “New York has its Central Park, Paris has its Luxembourg Gardens, London has its Hyde Park. If it is true that the major cities of the world can be recognized by their legendary green spaces, Montreal has certainly not been left out,” the mayor said as he made the announcement standing in front of what will become a 12.5 hectare wooded area and lookout in a few years. “We already have Mount Royal Park, our largest park, and in a few years we will soon have another equally iconic (park) right here,” he said. “This transformation represents one of the most ambitious environmental rehabilitation projects ever undertaken in an urban environment in North America,” Coderre said. “We are building a park out of a site that contains 40 million tonnes of garbage.” The cost of this phase of the project is $33.7 million, which the city is paying for from its capital works budget. The final price tag for the remainder of the work is not known. However, Coderre said whatever money is needed will be made available to complete the project. Once finished, the park will include thousands of trees, a lake, wooded areas, pathways, rest spots, an outdoor theatre and more. Anie Samson, the mayor of the Villeray — Saint-Michel — Park Extension borough and member of the executive committee, said the transformation shows that the impossible is possible. “Today is a big day for us and it is one more step forward toward the realization of our dreams (for St-Michel),” she said. “For the past 20 or 30 years, (residents) had a dump over there. Now it is going to be one of the biggest and nicest parks in the world,” Samson said. By 2017, just over 17 hectares of park space will be open to the public. In all, the park will occupy 153 hectares of the 192-hectare site. “A lot of people are talking about sustainable development, but what does it mean? I think we have a living proof here,” Coderre said. “We are providing today a new definition of how to revitalize an area. Frankly, at the end of the day … a lot of people are inspired by other cities. Trust me, this one will be an inspiration for the rest of the world.” Journalists were given a bus tour of the site Friday morning, which included a drive into the lowest point of the former quarry, which will eventually become the lake. It will be five times as big as Beaver Lake on Mount Royal. The lake will be filled with run-off water from the park and will be treated to make it safe to be used for boating and kayaking, but not for swimming. The second major project is a new entrance way to the park along Papineau Ave. that will include, among other things, a sliding area for winter activities, public spaces and areas where people can rest or play outdoor games such as Frisbee or flying kites. Two other sections already opened to the public will be reconfigured and new entrances constructed. There is already a pathway that rings the entire complex, but this is the first time the public will be allowed onto the landfill site. But how they will get to the park, near the corner of Papineau Ave. and Jarry St., is another question since public transit to the area is far from ideal. Coderre said they are working on a plan to address that issue. “We can have the nicest park, but it has to be accessible,” Coderre said. “We want Montrealers to be able to take advantage of the park so there will be an action plan for public transit, a mobility plan.” One challenge city officials face is how to camouflage the more than 500 wells that dot the site. They serve as monitoring stations for the biogas which is emitted by the buried garbage and the city must find a way to hide them while still allowing them to be accessible to workers for repairs. At the same time, they must prevent vandalism. The biogas is recovered and used as fuel on site by Gazmont, producing enough electricity for 2,000 homes. The company signed a new deal this year to recuperate the gas for 25 years once renovations are completed in 2016. The electricity is sold to Hydro-Québec, with the city getting 11.4 per cent of total sales per year. kmio@montrealgazette.com http://montrealgazette.com/news/local-news/iconic-park-will-rise-from-former-st-michel-dump
  13. http://gehlarchitects.com/blog/hurray-for-smart-montrealers/ HURRAY FOR SMART MONTREALERS! Over the last couple of months I have written about the different aspects of smart cities, the pros and cons, the dos and don’ts. The outcome of these musings suggests that we ought to discard the idea of a smart city for the sake of promoting smart communities, in which smartness is a tool for benefitting and improving the local social sustainability. However, within this approach lies a fundamental challenge: how do we actually make communities engage with and take responsibility for the shaping of the public realm, using tools and methods they have never known before? Enter Montreal. Montreal uses pilot projects to kick-start the regeneration of the urban spaces. A vacant parking lot on the outskirts of Downtown was turned into an urban beach thanks to the local organization l’ADUQ. Public Life in Montreal To understand the social life of Montrealers, one must first understand the basic history of the city’s public spaces. During the era of modernisation, more than 1/3 of the downtown core was demolished to make way for massive super-complexes embodying offices, car pars, underground malls and cafes. In the industrial suburbs, thousands of housing units were torn down to allow vehicular traffic an easy access into the city. These “renovations” were carried out in less than two decades, but they still managed to methodically get in the way of public life. Since then, the city has taken a completely different approach to urban planning, superseding even today’s hype for attractive, green and lively metropolises. “My colleagues and I, we based our entire careers around reconstructing the city from where it was left after the 1970’s and 1980’s demolitions (…) we want Montreal to be a network of public spaces.” – Wade Eide, Montreal Urban Planning Department, private interview July 15, 2014 Throughout the year, Montreal hosts hundreds of events that all contribute to a lively and active public life. Today, the effects of Wade Eide and his colleagues’ efforts are absolutely visible in the streets and squares of Montreal, which have indeed been transformed into a coherent experience of activities and life. The most remarkable part of this transformation is the effect that it has had in the mentality of the citizens (or maybe it was the other way around?): in Montreal, the city truly is for its people, and people care for and participate in public matters to a degree that I have rarely seen. I believe, because of this mentality, Montreal has a serious chance of actually fulfilling the vision of a smart city built for and by communities. The steps of Place des Arts serve as a public space, popular with everyone on a sunny day. The Montreal Model Montreal’s outstanding mentality for public participation has – luckily – also been recognized by the current smart Montreal’s front-runners, mayor Denis Coderre and Vice-President of the Smart and Digital Office, Harout Chitilian. In their campaigns for a smarter Montreal, they enthusiastically encourage the citizens to voice their opinions and share their ideas: “This ambitious project of making a smart and digital city will take advantage of new technologies, but above all it will draw on the collective intelligence to create a specific Montreal model. I count on you, Montrealers to give your opinions on the various forums that are available to you. I invite you to participate today. The floor is yours!” – (translated from French) Denis Coderre, Mayor of Montreal, 2014 Focus on citizens is visible in the public space. In this project residents of Montreal share their unique stories in a virtual exhibition. As part of the public participation process, the city has developed a web portal, “Faire MTL” (Make Montreal), where Montrealers are offered the chance to contribute to, comment on, collaborate with and follow 180 tangible projects that are to be implemented over the next couple of years. The ambitious plans also include the creation of physical spaces for innovation and co-creation, along with the use of public spaces as living laboratories for the growing smart communities. The fusion of a genuinely open and inclusive government and the natural participatory spirit of the Montrealers, makes Montreal a key player to follow in the game of defining how future (smart) cities could be shaped and function at the hands of the citizens. Every summer Sainte-Catherine Street (the city’s commercial high street) transforms into a pedestrian street, allowing citizens to walk, shop, eat and enjoy the city life. Find more about Montreal’s projects here. August 25, 2015 __ Camilla Siggaard Andersen sent via Tapatalk
  14. Dublin: Public Transit (Rail)

    It is a pretty impressive rail system that they are trying to build.
  15. http://montrealgazette.com/news/local-news/city-to-consult-public-on-overhaul-of-urban-plan sent via Tapatalk
  16. 1-50 Regulation in Effect for all Aircrafts as of August 1, 2015 Transport Canada has announced that the 1:50 ratio will be the new regulation in effect for both wide and narrow-bodied aircraft effective August 1, 2015. Airlines will be able to “flip flop” between the former 1:40 ratio and the new 1:50 ratio according to their operational requirements. Exit doors may also be left uncovered on wide-bodied aircraft, a major change from previous proposed regulations. Your Union views this development as a completely unacceptable and unnecessary risk to the safety of both crewmembers and the public. In changing the regulation without the usual consultation process, Transport Canada and the Harper government continue to act on behalf of the airline industry and in a manner that is without sufficient parliamentary and public scrutiny. Decades of privatization, deregulation and hyper-competition have led to a relentless drive to cut labour costs. Transport Canada makes no secret of this, and has calculated that the regulation will allow operators to achieve cost savings of $288,469,940 during the next ten years by reducing the number of Flight Attendants and associated costs including salaries, hotel stays and per diems. To read the new regulation, please see: http://gazette.gc.ca/rp-pr/p2/2015/2015-06-17/html/sor-dors127-eng.php. For the federal government and its transportation officials to so baldly place profit over safety is a national disgrace. It appears this government has learned nothing from the rail tragedy in Lac Megantic, which has also been linked to deregulation and the loosening of safety rules Your Union is reviewing all available options to continue our legal fight against the 1:50. We will update you on our intended response as soon as possible. We also look forward to the upcoming federal election, which we are confident will oust Harper and elect a government that supports worker rights and public safety. But to achieve that goal, our members must do their part. The Airline Division Political Action Committee will be working hard between now and the election to turn out Flight Attendants to vote. We will bring the full weight of our safety expertise forward to the new government and the public. Our research on this issue has been extensive, and is grounded in the real life understanding of the safety risks associated with reduced cabin crew. In fact, we believe our members’ real life experience is the best possible evidence that 1:50 jeopardizes safety, disrupts service, and reduces the job satisfaction and morale of Flight Attendants. During the past several months we have been compiling our members’ stories about the effect of 1:50. In the coming weeks, we will publish a series of bulletins that capture the voices of members describing how 1:50 has affected them on and off the job. Each bulletin will describe a different aspect of how 1:50 has affected them, including at work where members report increased fatigue, anxiety about decreased safety and service; and at home, where members report reduced income, greater stress and depression, and harm to personal relationships and overall wellbeing. These stories are gleaned from the responses of well over 100 Flight Attendants who responded to questionnaires made available by the Component and CUPE Local 4092. We encourage members to continue to share their stories in the months to come. Please follow the next bulletins. Your Union remains committed to fighting the 1:50 ratio on the legal, regulatory, and political levels. http://accomponent.ca/
  17. via le site de Microsoft : Press Release MICROSOFT CLOUD TO TOUCH DOWN IN CANADA Locally deployed Azure, Office 365 and Dynamics CRM Online will help power Canadian business Toronto, June 2, 2015 – Microsoft today announced plans to deliver commercial cloud services from Canada. Azure, Office 365 and Dynamics CRM Online will be delivered from Toronto and Quebec City in 2016, further strengthening Microsoft’s footprint in Canada’s competitive cloud landscape. “Soon, the Microsoft Cloud will be truly Canadian,” said Kevin Turner, Worldwide Chief Operating Officer, Microsoft, who travelled to Toronto to make the announcement. “This substantial investment in a Canadian cloud demonstrates how committed we are to bringing even more opportunity to Canadian businesses and government organizations, helping them fully realize the cost savings and flexibility of the cloud,” said Turner. According to IDC, total public cloud spend in Canada is projected to grow to $2.5B by next year. The fastest growth will be from Public cloud infrastructure with a strong 45 per cent increase by 2016. These new locally deployed services will address data residency considerations for Microsoft customers and partners of all shapes and sizes who are embracing cloud computing to transform their businesses, better manage variable workloads and deliver new digital services and experiences to customers and employees. General availability of Azure is anticipated in early 2016, followed by Office 365 and Dynamics CRM Online later in 2016. Janet Kennedy, President of Microsoft Canada, says delivering cloud services from data centres on Canadian soil opens up significant new cloud-based possibilities for organizations who must adhere to strict data storage compliance codes. “We’re very proud to be delivering the Microsoft Cloud right here in Canada, for the benefit of Canadian innovators, entrepreneurs, governments and small businesses. Delivering the flexibility of hyper-scale, enterprise grade, locally deployed public cloud services is the ultimate Canadian hat trick.” Canadian Customers Already Using Cloud Today Canadian customers of all sizes are already in the Microsoft Cloud. Even today, Microsoft delivers cloud-based email, Office 365, and CRM Online to more than 80,000 Canadian businesses. Companies like Air Canada, Quebecor and Hatch are saving money while empowering their employees to collaborate, be more productive and mobile with Office 365, Yammer, and Skype for Business. “Information systems and technology continue to be a differentiator for Hatch as it helps us to gain advantages in the marketplace – our use of Microsoft cloud is an integral part of this success. We are now able to focus on our business while benefiting from all the innovation Microsoft offers with a Service Level Agreement we can count on.” Christopher Taylor, Global Director, Hatch. Diply.com is a great example of an Ontario-based start-up leveraging Microsoft Azure, the company’s cloud-based infrastructure. The company delivers 850M page views per month on Microsoft Azure and owns no servers. Diply.com is able to rent servers from Microsoft by the hour based simply on the demand they receive. “We only pay for what we use,” said Gary Manning, CTO and co-founder at Diply.com. “We estimate our cost per 1,000 users is only $0.07! We’d never be able to build that back-end infrastructure ourselves.” Governments in Canada Welcome the Microsoft Cloud Ontario’s Deputy Premier and President of Treasury Board, Deb Matthews, applauded Microsoft’s commitment to enabling Ontario businesses to compete globally. “This commitment by Microsoft will further enhance the ability of Ontario’s innovative business sector to thrive and compete with the best in the world,” said Matthews. “To date more than 3,200 Canadian startups have benefited from joining the free BizSpark program, many of which are based in Ontario. By bringing the power of the cloud to Canada and providing free access through BizSpark, our entrepreneurs can truly compete with the best in the world.” John Tory, Mayor of Toronto, praised the announcement as a significant boost to Toronto’s digital infrastructure. “Together with Microsoft, we’re bringing Toronto into the 21st Century,” said Mayor John Tory. “Toronto is home to a skilled and talented work force that is ready to bring ideas to life. The City is committed to investing in state-of-the-art infrastructure that’s needed to attract good jobs and fuel innovation.” Tory noted that it’s estimated that more than 14,000 jobs in Toronto are connected to cloud computing. To learn more about Microsoft’s cloud touching down in Canada visit reimagine.microsoft.ca Additional Quotes “Microsoft gives us the high-performance infrastructure we need to handle major fluctuations in traffic and demand for a majority of our media websites,” said Richard Roy, Vice President of IT and Chief Technology Officer, Quebecor. “We only pay for what we use, eliminating the need for costly up-front investment in hardware. Microsoft has completely transformed the way we build new IT environments – what used to take days or weeks can now be done in a matter of minutes. Our move to Microsoft’s cloud with has enabled us to innovate rapidly in response to changing forces in our industry.” “We decided to move to the cloud with the Office 365 suite because of the globalization of CDPQ’s investment activities and our need for simplified collaboration among our teams around the world”, said Pierre Miron, CDPQ’s Executive Vice-President, Operations and Information Technologies. “CDPQ also welcomes Microsoft’s decision to establish two data centers in Canada, one in Quebec City and the other in Toronto,” added Miron. “The City of Regina partnered with Microsoft Canada in 2013 to become one of Canada’s first public sector organizations to embrace Office365,” said Chris Fisher, Director of IT, City of Regina. “That strategic decision, which raised eyebrows amongst our peers, continues to pay dividends as the product matures. It is helping the City find cost-effective ways for employees to efficiently communicate with each other and the public.” “As proud Canadians and creators of the world’s first 100% cloud-based digital asset management system, we’re eagerly awaiting the new Canadian data centres coming online next year,” said David MacLaren, President & CEO of MediaValet. “Since launching the first version of MediaValet in late 2010, we’ve had opportunities to work with healthcare, government and higher education organizations in Canada, but been hampered by their rigorous data compliance needs. Microsoft’s investment in a Canadian cloud will open up doors to significant sectors of the Canadian market and help us grow our market share on home soil.” About Microsoft Established in 1985, Microsoft Canada Inc. is the Canadian subsidiary of Microsoft Corporation (Nasdaq "MSFT") the worldwide leader in software, services and solutions that help people and businesses realize their full potential. Microsoft Canada provides nationwide sales, marketing, consulting and local support services in both French and English. Headquartered in Mississauga, Microsoft Canada has nine regional offices across the country dedicated to empowering people through great software - any time, any place and on any device. For more information on Microsoft Canada, please visit www.microsoft.ca. For further information, please contact: Natasha Beynon Veritas Communications beynon@veritasinc.com 416.640.4660
  18. http://designmontreal.com/commerce-design/a-propos-de-commerce-design-montreal Commerce Design Montréal Toggle navigation À propos de Commerce Design Montréal La Ville de Montréal célèbre cette année le 20e anniversaire de la création des Prix Commerce Design Montréal, une initiative montréalaise dont le succès fait écho depuis plus de dix ans dans plusieurs villes d’Europe, du Canada et des États-Unis. Les efforts soutenus dans ce programme ont contribué à sensibiliser les commerçants et le public à la valeur ajoutée du design. Ils ont insufflé une remarquable progression dans la qualité des lieux que l’on fréquente et l’expérience qu’ils nous procurent. C’est sur cette lancée que la Ville de Montréal poursuit son action et récompense celles et ceux à qui l’on doit cette heureuse transformation. Les lauréats se retrouvent au cœur d’une campagne de promotion et de relations de presse d’envergure qui vise à les faire connaître auprès du grand public, contribuant à leur notoriété et à l’accroissement de leur volume d’affaires. Cette récompense confère aux Prix Commerce Design Montréal toute leur originalité. Un trophée, création du designer industriel Claude Maufette, est attribué aux lauréats (commerçants et designers) qui sont aussi pourvus d’autres outils promotionnels visibles signalisant leur distinction. Historique Commerce Design Montréal a été créé en 1995 dans le but de faire valoir auprès des commerçants montréalais les bénéfices d’investir dans la qualité de l’aménagement de leur établissement avec l’aide de professionnels qualifiés. La raison d’être de cette activité est encore et toujours de développer le marché du design commercial à Montréal pour : améliorer la qualité du cadre de vie et rendre la Métropole plus attrayante; augmenter la compétitivité des commerces; accroître la demande locale pour les services professionnels en aménagement commercial. Les objectifs visent à créer un effet d’entraînement auprès d’autres commerçants, de convaincre ces derniers du bien-fondé du design pour leur succès en affaires et d’avoir un effet structurant sur la revitalisation et la dynamisation des rues commerciales. L’effort public et parapublic pour sensibiliser les commerçants montréalais au design a été sans relâche de 1995 à 2004. L’étude d’impacts alors réalisée avait démontré que le programme a concrètement développé, en dix ans, le marché en design de commerces et induit l’effet d’entraînement recherché. La qualité promue par les Prix Commerce Design Montréal s’est avéré un axe de communication très porteur pour la candidature de Montréal Ville UNESCO de design dont la désignation a été obtenue en 2006. Après dix ans de succès, un élargissement et un repositionnement vers d’autres secteurs d’activités étaient nécessaires. Il s’imposait alors de sensibiliser de nouveaux acteurs à l’amélioration de la qualité du design dans la ville. En 2005, le prolongement de l’action de Commerce Design Montréal fut confié à Créativité Montréal qui réalisa, de 2006 à 2008, trois éditions des Prix Créativité Montréal. De son côté, la Ville de Montréal continua de transférer son expertise et céder des licences à d’autres villes qui reprisent le concept original. « Commerce Design » est devenu une marque de commerce officielle de la Ville de Montréal en 2014. En relançant le programme en 2015, Montréal souhaite continuer à inspirer d’autres villes, à faire grandir le réseau et voir évoluer son concept puis, engendrer des retombées probantes sur son territoire grâce au partage d’expériences. Les grandes étapes de Commerce Design Montréal Appel de candidature : l’objectif est de recruter une centaine de participants d’une grande diversité ; des commerces de tous types et envergure, répartis sur le territoire de l’île de Montréal, récemment aménagés avec l’aide d’un professionnel en design ou en architecture. Jury : le jury retient, suivant l’analyse des dossiers et le visionnement des photos, une quarantaine de commerces finalistes qu’il visite lors d’une tournée d’observation. Il sélectionne 20 commerces et concepteurs lauréats, ex aequo. Parmi les critères qui guident les jurés, la mise en contexte est cruciale, car la sélection vise à refléter plusieurs réalités commerciales à Montréal, afin que les commerçants qui songent à investir dans le design de leur commerce puissent s’identifier et s’inspirer de l’un ou l’autre des établissements primés. Les Prix du jury sont annoncés lors d’une soirée festive qui réunit des centaines d’invités. Rencontres avec les designers : le public est invité à découvrir, lors du weekend « Venez, voyez, votez! » les 13 et 14 juin 2015, les 20 commerces lauréats sous l’angle du design, alors que les concepteurs sont sur place pour accueillir visiteurs et clients et expliquer leur démarche créative. Prix du public : du 11 mai au 31 août 2015, le public peut voter en ligne ou à l’aide d’un bulletin de vote pour son commerce préféré parmi les 20 lauréats. Au terme de la campagne « Votez avec vos yeux!», le commerce qui récolte le plus grand nombre de votes est proclamé « Prix du public » lors d’un événement de presse. Des cartes et chèques-cadeaux échangeables dans les commerces primés sont tirés au hasard parmi les votants, bouclant ainsi la boucle. Voir les partenaires et collaborateurs Prix Frédéric-Metz En août 2014, le milieu du design a perdu un grand pédagogue, un communicateur exceptionnel, un militant en faveur de la qualité en design : Frédéric Metz (1944-2014). Professeur associé à l’École de design, membre fondateur du Centre de design et de l’École supérieure de mode de l’UQAM, il est une figure marquante du design au Québec. Pour perpétuer sa pensée, la Société des designers graphiques du Québec (SDGQ), l’Université du Québec à Montréal (UQAM) et le Bureau du design de la Ville de Montréal lui rendent hommage en créant le Prix Frédéric-Metz dans le cadre des Prix Commerce Design Montréal 2015, un programme qu’il affectionnait tout particulièrement et auquel il a collaboré pendant plusieurs années. Le Prix Frédéric-Metz récompensera un établissement primé parmi les 20 Prix du jury dont le design (intérieur, graphique) parfaitement intégré, inspirant et efficace « facilite la vie, élève la beauté, la fonction et le sens, adoucit l’expérience, et constitue une valeur ajoutée à la vie quotidienne ». Un trophée, aux couleurs du personnage Metz, sera attribué aux lauréats lors d’une cérémonie spéciale le 14 septembre prochain. Une vidéo produite par deux étudiants en communications de l’UQAM, Gabriel Lajournade et Amélia Blondin, sous la direction artistique de Philippe Lamarre, président sortant de la Société des designers graphiques du Québec, a été réalisée pour l’occasion. Les plus proches collaborateurs et amis de Frédéric Metz témoignent de leur amitié et de leur admiration pour son travail et son legs pour les générations futures. sent via Tapatalk
  19. http://www.lapresse.ca/maison/decoration/amenagement/201504/28/01-4865137-amenagement-les-finissants-sexposent.php Publié le 28 avril 2015 à 12h25 | Mis à jour à 12h25 Aménagement: les finissants s'exposent Le vernissage aura lieu le jeudi 30 avril à partir... (Photo fournie) Agrandir Le vernissage aura lieu le jeudi 30 avril à partir de 18h, et l'exposition sera ouverte au public le vendredi 1er mai et le samedi 2 mai entre 12h et 16h. PHOTO FOURNIE Ma Presse Sophie Ouimet-LamotheSOPHIE OUIMET La Presse Comme chaque année, la Faculté de l'aménagement de l'Université de Montréal ouvre ses portes au public pour son exposition de finissants. Plus de 250 projets seront présentés dans les locaux de la Faculté, toutes disciplines confondues: architecture, architecture de paysage, design industriel, design d'intérieur, design urbain et design de jeux. Cette année, l'exposition explore la dualité entre le fond et la forme dans la création. Le vernissage aura lieu le jeudi 30 avril à partir de 18h, et l'exposition sera ouverte au public le vendredi 1er mai et le samedi 2 mai entre 12h et 16h. Fond Forme Université de Montréal, Faculté de l'aménagement 2940, chemin de la Côte-Sainte-Catherine amenagement.umontreal.ca sent via Tapatalk
  20. Bain Saint-Michel

    http://www.lapresse.ca/actualites/montreal/201504/19/01-4862409-13-million-pour-restaurer-le-bain-saint-michel.php Le bain Saint-Michel, le plus vieux bain public à Montréal toujours existant, sera rénové et conservera sa vocation culturelle des dernières années. L'édifice était condamné depuis quelques temps et défigurait la rue Maguire, en plus de bloquer le trottoir à cause des clôtures tout autour. Bref, c'est une bonne nouvelle pour le Mile End. Voici l'article de la Presse: 1,3 million pour restaurer le Bain Saint-Michel Le Bain Saint-Michel, sur la rue Saint-Dominique. PHOTO ÉDOUARD PLANTE-FRÉCHETTE, ARCHIVES LA PRESSE Daphné Cameron La Presse Le plus vieux bain public de Montréal, dont le taux de vétusté atteint les 95 %, subira une cure de jouvence à compter du mois de mai. La Ville de Montréal et le ministère de la Culture investiront 1,3 million de dollars pour rénover l'enveloppe du Bain Saint-Michel, afin de remettre en valeur ses façades d'inspiration Beaux-Arts, sa fenêtre oeil-de-boeuf et sa maçonnerie de briques avec détails de pierre. Au terme du projet, le Bain du Mile End ne redeviendra pas une piscine comme lors de sa construction en 1909. Il restera un lieu voué à la culture. Pour l'instant, le bâtiment est dans un état pitoyable. Selon la Ville, des débris de maçonnerie tombent sur les trottoirs longeant les façades et la toiture fuit au point de menacer l'intégrité du bâtiment. « Le Bain Saint-Michel (à l'origine nommé Bain Turcot) est le seul survivant de la première vague des bains publics des années 10, les autres ayant été construits vers les années 30. Cela lui confère une valeur historique indéniable », peut-on lire dans un sommaire décisionnel préparé en vue de la prochaine séance du conseil municipal. « L'énoncé patrimonial dont il a fait l'objet recommande sa conservation malgré son taux de vétusté », ajoute le document de la Ville. Centre culturel Cette première étape prévoit la réfection de la maçonnerie, de la toiture et de la cheminée, ainsi que la décontamination fongique, et devrait durer six mois. Un second projet de rénovation globale sera par la suite lancé en vue d'y implanter un lieu culturel dont les détails n'ont pas été dévoilés. Depuis un an, l'édifice situé à l'angle des rues Saint-Dominique et Maguire est vacant pour des raisons de sécurité, mais était utilisé depuis 1998 comme lieu de diffusion artistique. Des groupes citoyens, des entreprises culturelles et des commerces du Mile End militent d'ailleurs depuis deux ans pour pérenniser le lieu comme un endroit de création et de diffusion artistiques. C'est la firme Norgéreq, de Montréal, qui a remporté le contrat de rénovation.
  21. City promises services for Montreal's homeless in remodelled parks MONTREAL, QUE.: APRIL 15, 2015 -- A view fence around the perimeter of Emile-Gamelin park, which is closed for renovations, in Montreal city hall in Montreal on Wednesday, April 15, 2015. (Dario Ayala / Montreal Gazette) Dario Ayala / Montreal Gazette With two months to go until Cabot Square is accessible again and the recent closing of Place Émilie-Gamelin, many of Montreal’s homeless have lost two main, relatively safe, gathering spots. But despite the upheaval, officials are promising that once reopened, the spaces will not exclude or forget the city’s most vulnerable citizens. Fences sprang up around Émilie-Gamelin park on April 7, and will remain in place until early May, when a large block party is expected to herald the park‘s rebirth as a concert venue, public garden, food court and outdoor beer garden. It’s a significant overhaul that could have a long-lasting impact on the people who live and work in the neighbourhood. That includes the homeless men and women who spend their days in the park, said Marie-Joëlle Corneau, spokesperson for the Quartier des spectacles Partnership — a not-for-profit organization that co-ordinates and manages many of Montreal’s best-known cultural offerings. Corneau promised that the new park will continue to welcome outreach workers. A food distribution point for those in need at the northern end of the park will not be moved either, she said. “We have noted over the years that in Émilie-Gamelin, and in la Place de la Paix, the homeless will stay around during outdoor performances and events,” Corneau told the Montreal Gazette in an email. “Many have told us that they appreciate the ambience that is created and the presence of other members of the public, which makes the spaces more secure — even for them.” It’s a hopeful message, but it might come as cold comfort to the people who have no roof over their heads and who rely on public parks and buildings during the day. Émilie-Gamelin is one of several spaces frequented by the homeless that has been closed off or forcibly emptied in recent months. In January, city crews dismantled a makeshift camp in Viger Square, using machinery to sweep up more than a dozen beds in the area. Cabot Square is also undergoing a major year-long renovation, and local advocacy groups have warned that its closure has displaced dozens of homeless aboriginals. “We have not noticed a huge impact yet (at Émilie-Gamelin), but I would suspect that our café that’s open during the day would be even busier now,” said Matthew Pearce, president and chief executive officer of the Old Brewery Mission, which is located just a few blocks away from the park. “It may become the kind of park where the homeless are feeling less able to stay. … I hope that those individuals will then understand that the Old Brewery Mission has open arms for them.” According to a spokesperson for the Ville-Marie borough, the city will have eight police cadets stationed in Place Émilie-Gamelin this summer who will help maintain order during public events, but they will not issue tickets to the homeless. As part of an overall intervention strategy in the park, the city has set aside $48,000 to help pay for two dedicated outreach workers through local organization Présence Compassion, along with another $8,000 to assist with needle cleanup. One of the outreach workers works year-round while the other is only employed for the summer, when traffic in the square is much greater. As for the notion of serving alcohol in a public park that has long been home to people with substance abuse issues, Pearce acknowledged that it may not seem like a great idea. “You know, my own take on that is that it won’t be pivotal because people who have substance abuse issues in Montreal, if they don’t go one place they can go to another,” he said. “The challenge is to increase the level of services for that population to help them better cope with dependencies.” Over in Cabot Square, the reopened space is expected to include a number of policing and cultural programming initiatives designed to better serve the homeless and those at risk. A café in the park’s gazebo will employ aboriginal people, and two outreach workers will be establishing a permanent office adjacent to the café. “I think we’re on track with everything,” said Rachel Deutsch, manager of the Cabot Square Project, an umbrella group helping to co-ordinate new programs and services in the park. “We’re looking at cohabitation and issues of safety for everyone. We’ve worked really closely with Ville-Marie borough and they have been very, very supportive.” While Cabot Square is closed (it is expected to reopen in July), the Old Brewery Mission has been shuttling people from that area to the mission’s facilities in the east end, and to other locations — all on the city’s dime. According to Pearce, “if the city wanted us to, we would do it for Viger Square and Émilie-Gamelin as well.” sent via Tapatalk
  22. http://plus.lapresse.ca/screens/859bc2a2-f0ed-470c-862f-943a02746c63%7C_0.html FRANÇOIS CARDINAL LA PRESSE La place Émilie-Gamelin est bien accueillante pour les manifestants, qui s’y donnent rendez-vous ces jours-ci. Mais pour le flâneur urbain, on repassera… C’est un espace hypercentral, dans une ville hypersécuritaire. Un espace auquel on a ajouté de gros jeux d’échecs et des camions de bouffe. Mais personnellement, je ne ferais pas de détour pour y passer un samedi après-midi avec mon fils, disons. Bon, ça prouve peut-être que je suis un papa poule. Mais surtout, que tout ce qui a été tenté au cours des dernières années pour faire de la place Émilie-Gamelin un lieu public accueillant et invitant – pour tous – a cruellement échoué. Cette fois sera-t-elle la bonne ? Je l’espère. J’ai appris qu’on va tenter complètement autre chose, cette année. On va fermer la place pour un mois, à partir de lundi prochain, afin de la transformer en « village » animé jour et soir, tout l’été, avec resto, bar, café, jardins et spectacles. On va aménager un marché public, un jardin communautaire, une terrasse avec tables et parasols, un immense lieu de projections. Bref, on va tenter d’en faire un lieu convivial pour tout le monde. Pas juste les revendeurs de drogue. *** Ça fait maintenant quatre ans que le Partenariat du Quartier des spectacles tente de « renipper » la place Émilie-Gamelin avec des événements ponctuels. Mais rien à faire : dès qu’ils prennent fin, le lieu redevient insécurisant. Changement complet de stratégie, donc. Fini les coups de pinceau et les interventions à la pièce. On a embauché l’organisme derrière le Village éphémère, Pépinière & Co, afin de créer un village semi-permanent, de mai à octobre. « On veut vraiment changer l’allure de la place, et sa réputation par le fait même », précise Pascale Daigle, du Partenariat. Sous l’enseigne lumineuse « Jardins Gamelin », on va donc retrouver de nombreux bancs, des bacs à fleurs, des chaises de type Adirondack, ainsi qu’une scène circulaire où se tiendront des événements programmés et spontanés : spectacles, conférences, animation, yoga matinal. On ajoutera une canopée lumineuse ainsi qu’une « œuvre magistrale illuminée » en suspension. À l’ouest, on ouvrira un restaurant dans une construction de conteneurs où l’on vendra du café tôt le matin, et de la bière tard le soir. On installera une dizaine de tables avec chaises et parasols afin que les gens puissent profiter de leur consommation ou de leur propre lunch. Au sud de la place, on retrouvera de l’agriculture urbaine : jardin de tournesols, production de légumes, plantations diverses, serre, etc. Et à l’est, on installera un marché de fruits et légumes et on se servira de la façade de la Place Dupuis comme toile de projection. « Montréal est une ville d’événements, fait remarquer Jérôme Glad, de Pépinière & Co. Mais l’événementiel est souvent en rupture avec la ville au quotidien : on installe des clôtures et des tentes génériques, puis une fois terminé, on remballe tout. » « Là, on veut inverser la logique : investir le lieu, en faire un canevas cohérent, puis y attirer des événements qui donneront à la place un caractère propre. » *** Est-ce qu’on est dans l’embourgeoisement localisé ? Une façon de repousser ceux qu’on préférerait ne pas voir ? De remplacer ceux qui ont élu domicile dans le parc par des hipsters et leur macchiato ? Le Partenariat du Quartier des spectacles s’en défend. Il assure que son village s’implantera avec l’aide de l’arrondissement et du Service de police de la Ville de Montréal, qui veilleront à maintenir la cohabitation. Comme à l’époque des interventions de l’ATSA. À l’arrondissement de Ville-Marie, on ne cache pas que « les comportements de personnes marginalisées » sont source de préoccupation. Mais le but n’est pas de les faire disparaître, assure la porte-parole Anick de Repentigny. « Il n’est pas question d’exclure qui que ce soit. L’arrondissement souhaite une cohabitation sociale optimale. » De toute façon, renchérit Jérôme Glad, l’idée n’est pas de lisser l’endroit pour en faire une autre place des Festivals. « On a vraiment une approche de quartier, à échelle humaine, ouverte et inclusive. On veut que ça devienne un lieu propice aux rassemblements et aux pique-niques. On veut que ce soit une grande terrasse pour tout le monde. » Pas une autre place des Festivals, donc, mais pas un autre « Village éphémère » non plus, ces événements populaires et branchés qui ont eu lieu ces deux dernières années (bonne nouvelle : une démarche est en cours pour que cet événement revienne au Pied-du-Courant à compter du 19 juin). « On mise plutôt sur une réappropriation d’un lieu public par toutes sortes de monde », affirme Jérôme Glad. Pensons au Marché des ruelles dans la rue Sainte-Catherine, ou au Marché des possibles dans le Mile End. Ne nous contons pas d’histoire. Ce sera tout un défi d’assurer une cohabitation des usagers actuels et futurs. Mais un défi qu’il vaut certainement la peine de tenter de relever. Car s’il ne faut pas chasser les marginalisés, on ne peut chasser non plus les riverains et les commerçants. sent via Tapatalk
  23. Archi branchés

    Salut, j'ai découvert aujourd’hui, grâce a l’émission, C'est juste de la TV, un magazine sur les projets immobiliers a Montréal, au canal Savoir, c'a l'aire super interagissant et vous pouvez rattraper les épisodes sur le site de Canal Savoir Voici la description du poste sur l’émission et le lien pour les épisodes complet sur le web http://www.canalsavoir.tv/videos_sur_demande/archi_branches À travers l'odyssée du journaliste Marc-André B. Carignan, le magazine convie à l'exploration des projets immobiliers les plus novateurs. Chaque émission est ainsi consacrée à un architecte et à la visite exhaustive de sa dernière création. Une approche originale qui sonde ses inspirations, questionne son imaginaire et sa vision de la ville de demain. Une formidable opportunité pour le public de s'imprégner de leur ingéniosité, de leur avant-gardisme, mais aussi de mieux saisir les enjeux cruciaux en matière d'habitat et d'urbanisme. La série a bénéficié du soutien financier du Conseil des arts du Canada, du Bureau du design de la Ville de Montréal et de l'Ordre des architectes du Québec.
  24. https://medium.com/@transitapp/the-mini-villages-of-montreal-s-metro-6900e158b2a The metro is the backbone of Montreal. Besides New York City and Mexico City, Montreal’s annual ridership is higher than every other subway system in North America. It’s a feel-good story if you’re from Montreal. But there are lots of big cities in North America. Why has the STM — Montreal’s transit authority — been so successful in getting us to ride the metro? One big reason: Montreal’s metro stations are incredibly well-integrated within the city’s densest neighbourhoods. Would you take the metro if it took you an hour to get there? Probably not. That’s why when urban planners design transit systems, they try to optimize transit station walksheds: the area around a transit station accessible by foot. Just because your grandpa walked seven miles to school (uphill both ways) doesn’t mean you should. Having a metro station within walking distance makes it more likely that you’ll actually use public transit, and not have to rely on a car. This visualization shows the population that lives within walking distance of each Montreal rail station: Montreal rail station walksheds’ population within 800m of stations. The sizes of the circles and the numbers inside them correspond to the population in 1,000 people (24 = 24,000). How does your station compare? In other words, if you were to shout really loudly outside most metro stations, there are lots of people who will hear you. There are thousands — and often tens of thousands — of people living within 800 metres of Montreal’s rail stations. And this is in a city with almost no skyscrapers! To create this graphic, we found the number of people in Montreal who live within 800 metres of the nearest rail station, which represents a 10 minute walk for a fully-grown human with average-sized legs. The Côte-Sainte-Catherine station has the most people living in its walkshed (about 28,000 people), followed by the Mont-Royal and Guy-Concordia stations (about 26,000 each). Mont Royal metro on the left (26,000 people), Montmorency on the right (6,000 people). Where would you rather live? Funnily enough, the metro station with the most foot traffic (Berri-UQAM) actually has less people living around it than the areas around the adjacent Beaudry, St. Laurent, and Sherbrooke stations. This is because many people going through Berri-UQAM don’t actually live there — they’re just stopping to transfer between the Orange, Green, and Yellow lines. Tweet at us!On the whole though, areas around metro stations are much more densethan the rest of Montreal: the population density within metro walksheds is more than 10,000 people/km², while population density outside of them is a mere 3,700 people/km². By giving Montrealers cheap, rapid, and reliable access to the rest of the city, metro stations encourage people to live nearby. But when people can’t live near stations (due to zoning or other reasons) you don’t see as much development, and neighbourhoods become much more car-reliant and “suburbified”. Consider Montreal’s AMT stations, which generally don’t have as many people living nearby as metro stations. AMT stations are often next to highways and surrounded by a sea of parking, while others are smack-dab in the middle of nowhere. The lack of dense housing nearby is one reason that the ridership numbers for the AMT (80,000 daily trips) pale in comparison to the mammoth numbers of the STM Metro (1,250,000 daily trips). When people live further away from stations, they have to rely on feeder buses or park-and-ride’s. To avoid that inconvenience, many people simply choose to use cars instead of taking public transit. Altogether, we’re proud that Montreal’s car cravings are comparatively light. When stacked up against similarly-sized North American cities, our public transit mode share is very high. Take a look: Originally posted by transit planner extraordinaire Jarret Walker on humantransit.orgLargely because of our city’s metro, over 20% of Montrealers take public transit to work, which is more than double the share in the metropolitan areas of San Francisco, Washington DC, and Seattle. Still, we can do better. In the STM’s Strategic Plan for 2020, one of the primary goals is to reduce the share of car trips from 48% of total trips down to 41%. To make up the difference, they hope to encourage more Montrealers to take public transit. There are many ways to acccomplish this goal: congestion pricing or better parking policies to discourage driving, increased service to boost transit’s convenience, and real-time customer information (iBUS anyone?). In particular, our walkshed graph shows that denser development should be an important part of the STM’s toolkit — notwithstanding the usual political hurdles. Our team at Transit App is also doing its part to make public transit more convenient in Montreal, and in many other cities around the world. From our Mile End office, our team is giving millions of people the flexibility and reliability of a car — without the burdens of actually owning one. Find out how we can help make your transit experience better: You can download Transit App for free on iPhoneand Android
  25. via the New Yorker : FEBRUARY 28, 2015 Leonard Cohen’s Montreal BY BERNARD AVISHAI PHOTOGRAPH BY ROB VERHORST/REDFERNS VIA GETTY Leonard Cohen’s “Hallelujah”—a hymn to souls too carnal to grow old, too secular to give praise, and too baffled to mock faith—recently turned thirty. Cohen himself, now eighty, came of age in Jewish Montreal during the twenty years after the Second World War, and those of us who followed him, a half-generation later, can’t hear the song without also thinking about that time and place, which qualifies as an era. The devotional—and deftly sacrilegious—quality of “Hallelujah” and other songs and poems by Cohen reflects a city of clashing and bonding religious communities, especially first-generation Jews and French Catholics. Montreal’s politics in the early sixties were energized by what came to be called Quebec’s Quiet Revolution, which emancipated the city’s bicultural intelligentsia from Church and Anglostocracy. The pace of transformation could make the place half crazy; that’s why you wanted to be there. Religious thoughts seemed to be the gravest ones in Montreal then, insinuated, even inculcated, by its architecture, seasonal festivals, and colloquialisms. Cohen grew up in affluent Westmount, the best part of Mount Royal, about a mile from my family home in Snowdon—a neighborhood on a lower Western slope, where “the English” (as my mother called them) had no choice but to make room for Jewish factory owners, lawyers, and doctors. Towering over both our neighborhoods, impressing itself on our senses, was the dome of St. Joseph’s Oratory, Quebec’s great basilica, the dream palace of (the now canonized) Brother André Bessette, who healed the body and spirit of pilgrims—the place we simply called the Shrine. A. M. Klein, the first of the Montreal Jewish poets, wrote, “How rich, how plumped with blessing is that dome! / The gourd of Brother André! His sweet days / rounded! Fulfilled! Honeyed to honeycomb!” Its neon-illuminated cross was visible from my bedroom window, an imposing rival for the whispered Shma Yisroel of bedtime. The city’s ironwork staircases, its streets tangled around Mount Royal, carried the names of uncountable saints (St. Denis, St. Eustache, St. Laurent); the fall air was scented by rotting leaves and, on Rosh Hashana, polished synagogues. Fresh snow sharpened Christmas lights. Our curses, borrowed from Québécois proles, were affectionately sacrilegious mocks of the Mass: “calice,” “tabarnak,” “osti”—chalice, tabernacle, host. For Jews, a sense of rivalry was palpable, triangular, and almost Old Country in character. French public schools were run by the Catholic Church, English schools by the Protestant School Board, and some fifty per cent of Jewish students went to Anglo-Jewish day schools that embraced (and effaced) Old World movements: Orthodox, Zionist, folkish Yiddishist. Montreal’s Jews numbered well over a hundred and twenty thousand in those years. A great many men and women behind the counters of our bakeries, delis, and bookstores spoke (as did my father) the Yiddish-inflected English of immigrants who had come in the twenties. The Soviet revolution had changed the boundaries of Russia’s borderlands, closing Russian markets that had previously been open to Jewish merchants and textile manufacturers in Lithuania and White Russia (now Eastern Belarus), forcing them West—just when the Johnson-Reed Act of 1924 closed America to more Jewish immigration. My father and his widowed mother and siblings were trying, in 1928, to get from Bialystok to Chicago, where an uncle lived. The port of Montreal was supposed to be their starting point, before heading down to the Great Lakes. It was where they stayed. (If the accents were heavier, you knew the new arrivals had come mainly from Romania or Hungary after the Nazi defeat, and had witnessed horrors that we did not speak about.) Jewish community life after the war was imbued with a sense of intensely felt tragedy, but so was traditional Judaism as a culture. The world of Yiddishkeit, three generations back for New York intellectuals, was just one generation back for us. Compared with “Dick and Jane” in our English readers, the characters of the Hebrew bible—their violence, jealousies, and treacheries—seemed like family. On a streetcar ride up Queen Mary Road, where the Shrine stood, a nun once told me that I had “the look of Abraham” on my face. Another, apparently reading my mind, asked me if I knew what it meant to have sinful thoughts. (She also kindly shared an amusing word game, so her Inquisition ended with grace.) The largest English talk-radio station had a call-in show on Sunday evenings on which the vexingly courteous Pentecostal Pastor Johnson explained why Jews, in rejecting Jesus, were sadly damned. Most of his callers were Jews who debated and denounced him. Unlike in the United States, Jews in Quebec did not have a neutral civil space to melt into. We had nothing as stipulated as the American Constitution; our liberties derived organically, within the tradition of British Common Law. Canada’s money had a Queen on it, not the founding fathers. The institutions of Jewish Montreal created places in which we fell back on ourselves. The heads of our welfare services and of the Y.M.H.A., the public library, the free-loan society, and political congresses were local celebrities. The family of the liquor baron Sam Bronfman, who supported these institutions, were our nobility. The progressives among us didn’t go to Reform synagogues; we just went to Orthodox and Conservative synagogues, and irregularly. If we got sick, we went to the Jewish General Hospital. My father, a Zionist leader who travelled to Israel in 1954 as if on the hajj, often admonished me with the famous aphorism of Moses Mendelssohn, the eighteenth-century liberal philosopher, that I should be a Jew at home and a human in the street. I understood Mendelssohn more readily than, say, Leonard Bernstein, who, teaching us sonata form on television, seemed human pretty much everywhere. Tolerance meant dialogue and reciprocal recognition, not assimilation. A few years ago, I walked through Bialystok with a historical map of the now destroyed Jewish city—before the First World War, Jews comprised about half the population—and found my father’s house. I was struck by how familiar Montreal’s large immigrant Jewish neighborhoods might have seemed, at least on the surface, to my father in 1928, when he arrived at the age of fourteen: the same hard winter and the same thick-walled constructions, the same forested hills, the same churches, the same easy insular Yiddish dominating commerce in textiles and clothing—the shmate (“rag”) business. The same farmers who had, a couple of generations back, been peasants, speaking a strange national language, working in our factories, speaking against us from hearths and pulpits yet greeting us warmly and with a practiced humility. The same sense that, by contrast, the propertied classes, our local nobility, would tolerate Jews so long as we helped them get richer but did not cross some invisible boundary—the presumably unavailable daughters. In his iconic Canadian novel, “Two Solitudes,” Hugh MacLennan describes Quebec as being defined by two competing cultures, nested in two little nations that were also classes, French and English. The gruff, brilliant, promiscuous Irving Layton—who had been an acolyte of Klein, and who became Cohen’s mentor and advocate—observed many years later that Montreal actually had three solitudes—a Jewish one, too, sitting somewhere between the others. Commercial life was English, so Jews as a community were drawn to the Anglophone world, narrow only in Quebec. Yet immigrant Jews engaged more poignantly, pushing and pulling, with French religious culture, which was locally engulfing. Catholic priests and nuns were ubiquitous public servants, tending to the French population, largely subsidized by provincial taxes and dominating Quebec’s French universities, hospitals, and social agencies, as well as the public schools. Cardinal Paul-Émile Léger, installed in 1953, was a kindly man, concerned for the poor, who ended his days as an African missionary (“a mensch,” my father called him), and the equal of any mayor; he kept anyone under sixteen from entering a movie theatre, except when Walt Disney films made the rounds. In the thirties and forties, the Church in Quebec had been ultramontane, and the not silent partner of the reactionary National Union Party of Premier Maurice Duplessis, who ruled, with a five year interruption, from 1936 until his death, in 1959. He had been xenophobic, populist, ambivalent about the war against Hitler, and classically (if discreetly) anti-Semitic. Behind the scenes, this political establishment instructed French voters, many of whom lived in far-flung farming villages where parish schooling was limited. They were barely literate and easily swayed. Duplessis presided over an apparently impregnable majority, rallied against sinful Montreal—Cardinal Léger sought to ban bingo—and used the provincial police thuggishly, turning it into a personal force. But the war and its aftermath gradually put the Catholic Church on the defensive. The exposure of Québécois soldiers to the triumph over Fascism, the penetration into the countryside of radio and television, the inescapable guilt that Catholic intellectuals felt about the death camps, the Second Vatican Council in 1962—all of these unleashed dissent. The Church’s chief critics were dazzling, cosmopolitan French Canadian intellectuals: Jean Marchand, the charismatic, leftist union leader; Gérard Pelletier and Pierre Elliott Trudeau, the editors of Cité Libre magazine (Trudeau would eventually lead the federal Liberals to victory in 1968); and René Lévesque, the Canadian Broadcasting Corporation’s most famous French-language host. When, in the 1960* election, the Liberal Party came to power (Lévesque joined the Liberal’s cabinet as the resources minister), the priests and nuns began losing their grip on the city’s schools and social services, and Quebec entered the humanist insurgency of the Quiet Revolution. The arts began to flourish: the Comédie-Canadienne blossomed, and the filmmaker Denys Arcand joined the National Film Board, producing award-winning French-language documentaries. The University of Montreal and community colleges were infused with provincial funds, and their graduates took social-service jobs in a new, fiercely secular Quebec bureaucracy. Public schools, still divided by language, were taken over more firmly, and funded more lavishly, by the regional government (though the formally “confessional” nomenclature—Catholic and Protestant—was not finally abandoned until 1998). By the spring of 1963, the Quebec government had nationalized old English-owned power companies, disturbing the peace of the residual Anglostocracy. In this loosened political atmosphere, Jews—who voted “Liberal” as faithfully as we conducted Seders—emerged into the culture. We grew infatuated with Trudeau’s federalist idealism. He was elected from a largely Jewish Montreal constituency and remained there throughout his years as Prime Minister. The Quiet Revolution transformed Montreal, at least for a while, into a kind of Andalusia: contesting religious-linguistic cultures rubbing each other the right way. Jews shared professional and literary ties with les Anglais, but we shared an affinity with French Catholics, for religious traditions that were thickly esthetic and that we, each in our own way, both loved and loved to distance ourselves from. We also intuitively understood congregational routine, authoritative interpretation of sacred literature, the prestige of historical continuity—we understood that messiahs matter in this world, that the divine emerged within the precincts of a discipline, commandments, and the mass, all of which produced decorum before they produced grace. As Cohen writes in “Hallelujah,” you cannot feel so you learn to touch: works, not just faith alone. Our rivalry with Catholics at times seemed fuelled by an unacknowledged tenderness, theirs for our historical struggles, professional erudition, and exegetical trenchancy, ours for their majestic spaces, genuflecting hockey champions, and forgiving, suffering servant—a Jew, after all. “I love Jesus,” Cohen told his biographer, Sylvie Simmons. “Always did.” But, he said, “I didn’t stand up in shul and say, ‘I love Jesus.’ ” My mother—the amiably innocent scion of another Bialystoker family—took me, overdressed (oisgeputzt), to Eaton’s department store to see the Christmas pageantry; and then, more reverentially (and to my father’s dismay), she took me to the Shrine’s wax museum, to see depictions of the passions of the saints. When I first heard a recording of Judy Collins’s iconic rendition of Cohen’s “Suzanne,” at McGill in the fall of 1967, a year after my mother’s sudden death—heard about the lonely wooden tower and its occupant searching out the drowning—it occurred to me that I had never expected much empathy from the God of Abraham, Isaac, and Jacob. It also occurred to me that Cohen, whose father had died when he was nine, knew loss, and that the distance from mama’s boy to ladies’ man could be short. Which brings me, finally, to McGill. If our emancipation was not in civil society, it was on that campus. The university had been chartered in 1821 to provide English and Scottish Protestants a colonial piece of the Enlightenment, above the atavism of habitant manors and parishes; the student population at the Arts and Sciences Faculty, in the mid-sixties, was something like forty-per-cent Jewish. Cohen was a legend by the time I got there. He had graduated in 1955, and had published three books of poetry and two novels; the National Film Board had made a fawning documentary about him. It was at McGill that Cohen found Irving Layton (he said of Layton, “I taught him how to dress, he taught me how to live forever”). Klein, Layton’s teacher, had been there in the thirties, studied law, and went on to simultaneously write “The Rocking Chair,” a poetic tribute to French Canada, and edit The Canadian Jewish Chronicle. (Secretly, he also wrote speeches for Sam Bronfman). By the time Cohen got to McGill, Klein had fallen silent, spiralling into, among other sources of melancholy, a never-completed exegesis of Joyce’s “Ulysses.” For our part, we found at McGill a kind of finishing school to make ourselves more sovereign, like Cohen was. There was no need for young Jews to offer Quebec some new model of political insurrection—no American-style howl. The restrained, verbose liberalism of John Stuart Mill seemed insurgent enough, even for Trudeau and Levesque. So was the tolerance—the scientific doubt—of the Scottish enlightenment and the lyricism of English and Irish poets, from Wordsworth to Yeats. Hemmed in by Jewish and Catholic sexual norms—and also by Victorian prissiness—the first right that we thought to exercise was the right to Eros. Cohen told Sylvie Simmons that he was first inspired to write poetry when, in his teens, he read, in English translation, the work of the Spaniard Federico García Lorca. But, like many other Jewish youths at McGill, he shuttled between the debating union and the traditions of the English, immersing himself in the study of liberty and literature as in a yeshiva. This open-spirited time of cross-fertilization did not last. The Quiet Revolution, which prompted Trudeau’s federalism, in time gave rise to a more stridently nationalist idea, encouraged by Charles de Gaulle on his trip to the 1967 World’s Fair, and soon championed by Lévesque, too: that Quebec would be better off as an independent country, maîtres chez nous (masters of our own). Spooked by the vitality of English culture in Montreal, and by the fact that many more French were learning English than the other way around, separatists began agitating for an end to English-language education for new immigrants and English signs in the city. Socialists among the separatists, recalling Lévesque’s nationalization of the power companies, began calling for the nationalization of banks and large businesses. At the beginning of the sixties, radical separatists—impatient with the Liberals’ nonviolent democratic methods—had formed the Front de Libération du Québec, or F.L.Q., and gone underground. By the end of the sixties, they had placed bombs in the stock exchange and in mailboxes in English neighborhoods. In 1970, after a spate of F.L.Q. kidnappings (a Quebec minister, Pierre Laporte, was murdered), Trudeau imposed martial law. The city was roiled by arrests; a friend at McGill known for his New Left sympathies saw his flat raided; the police confiscated books, including, he laughed nervously, one entitled “Cubism”. Lévesque despised the violence of the underground, but was undeterred in his commitment to pursue national sovereignty democratically, ultimately through a referendum. In 1968, he had founded Le Parti Québécois. Jews, like most English-speaking residents of Quebec, were shocked when Lévesque was unexpectedly elected Premier in 1976. This proved the cue. Tens of thousands moved to Toronto. Some Jewish intellectuals, professionals, and artists stayed, but most left, and the amity of the sixties dimmed. Cohen kept a house in Montreal, but as his fame as a songwriter grew he spent little time there. Nevertheless, something of his native Montreal could not be shaken off—the short, sweet tradition of which Cohen was, in a sense, the end. In his 1978 poem “The Death of a Ladies’ Man,” Cohen writes of a lover’s “high religious mood” brought low by the dangers of desire: “She beckoned to the sentry / of his high religious mood. / She said, ‘I’ll make a space between my legs, / I’ll teach you solitude.’ ” You hear the resonances of Cohen’s own religious mood, and Montreal’s, in the lyrics of many songs—“Sisters of Mercy,” “Story of Isaac,” “Who by Fire,” “If It Be Your Will”—culminating, perhaps, with “Hallelujah.” The resonances and the losses are even clearer, I think, when you go to the start of the tradition—roughly, Klein to Layton to Cohen—rather than hear only its end. Klein’s 1947 poem “The Cripples,” about French Catholic worshippers at St. Joseph’s Oratory, which I quoted from earlier, reaches this climax: They know, they know, that suddenly their cares and orthopedics will fall from them, and they stand whole again. Roll empty away, wheelchairs, and crutches, without armpits, hop away! And I who in my own faith once had faith like this, but have not now, am crippled more than they. There you have it: a freethinking Montreal Jew, in whose bones the Torah was bred, inventing precise English lines to express envy for French Catholic piety. “Anything beautiful is not your own,” Cohen told a Jewish student newspaper in 1966. “When I write, I place myself in contact with something much more glorious than anything I can pull up from within myself.” Poetry was unlocked by reverence. But reverence might, ironically, embolden the poet to cross boundaries, to perhaps court one of those beautiful Westmount girls. And if you did, if you touched the dew on her hem, you could throw your crutches away. *Correction: A previous version of this post misidentified the election year that the Liberal Party came to power.