ville-marie Parc Jean-Drapeau/Parc des Nations : rénovations

[vincethewipet]

Pourtant Québec s'est amusé à payer des salles de concert à Quebecor et à Bell dernièrement. Peut-être que le critère, c'est d'avoir un toit ;).

[IluvMTL]

2017 = Coderre + PLQ

2018 = Plante + CAQ

 

[jesseps]

Il y a 22 heures, IluvMTL a dit :

On dirait que Montréal est pris a payer au complet pour les cadeaux de Coderre à Evenko...

Sounds about right and if that is the case, the city will probably charge a pretty penny to Evenko to recoup the loss.

[IluvMTL]

1 hour ago, jesseps said:

Sounds about right and if that is the case, the city will probably charge a pretty penny to Evenko to recoup the loss.

Coderre probably gave it as a 'gift' to Evenko/CH, so the city cannot now charge them for the renos to the amphitheatre. Since all the contracts are probably signed I think that Plante will be stuck with the bill. I'm surprised that they haven't mentioned it yet. There was a lot of complaining when this was publicized (back in 2018) but nothing since the recent CAQ decision. I'm sure we can expect that the Plante Administration will negotiate/try to raise their fees after 2020...

Here is an article from May 2018

https://montrealgazette.com/news/local-news/evenko-says-it-will-release-details-of-parc-jean-drapeau-deal

[jerry]

On December 23, 2018 at 10:07 AM, IluvMTL said:

On dirait que Montréal est pris a payer au complet pour les cadeaux de Coderre à Evenko...

Non, il faut lire l'article au complet:

"L'entente précise que si les factures soumises par la Ville n'atteignent pas la somme maximale de 35 millions, la subvention sera révisée à la baisse. Vérifications faites, l'amphithéâtre ne représente que 30 % de la facture de 73,4 millions. La Ville de Montréal juge ainsi peu probable de perdre une partie du financement."

[IluvMTL]

25 minutes ago, jerry said:

Non, il faut lire l'article au complet:

"L'entente précise que si les factures soumises par la Ville n'atteignent pas la somme maximale de 35 millions, la subvention sera révisée à la baisse. Vérifications faites, l'amphithéâtre ne représente que 30 % de la facture de 73,4 millions. La Ville de Montréal juge ainsi peu probable de perdre une partie du financement."

J'attendrais un peu. Les parties sont peut-être en train 'd'interpréter' les clauses et les coûts attachés. C'est toujours facile d'etre créatif avec les chiffres...

Une chose est plus sur, Evenko/CH  peut s'attendre à être demander de payer plus après 2020.

[acpnc]

Il y a 1 heure, IluvMTL a dit :

J'attendrais un peu. Les parties sont peut-être en train 'd'interpréter' les clauses et les coûts attachés. C'est toujours facile d'etre créatif avec les chiffres...

Une chose est plus sur, Evenko/CH  peut s'attendre à être demander de payer plus après 2020.

Ce serait une bonne chose qu'ils paient le prix juste pour des installations de première qualité. Ces surplus Montréal pourra les appliquer pour d'autres priorités comme le logement abordable.

[ScarletCoral]

Communiqué de la Ville

Réaménagement du parc Jean-Drapeau: L'œuvre d'art public Utopie de l'artiste Jonathan Villeneuve est choisie pour le projet de réaménagement du secteur ouest de l'île Sainte-Hélène

23 janvier 2019

Montréal, le 23 janvier 2019 - Christine Gosselin, membre du comité exécutif de la Ville de Montréal responsable de la culture, du patrimoine et du design, est heureuse de dévoiler le projet lauréat qui a remporté le concours d'art public pour une œuvre d'envergure qui sera installée au printemps 2019 dans le secteur ouest de l'île Sainte-Hélène. L'œuvre sélectionnée s'intitule Utopie et sera créée par l'artiste Jonathan Villeneuve. 

« Félicitations à Jonathan Villeneuve pour sa proposition artistique audacieuse qui se mariera dans le décor naturel et patrimonial de ce secteur prisé du parc Jean-Drapeau. Son installation ajoutera du prestige au site et contribuera à sa beauté et son attrait. Elle témoigne également de l'intérêt de la métropole d'embellir son territoire et de permettre aux Montréalaises et aux Montréalais de découvrir les artistes locaux par l'installation d'œuvres d'art dans l'espace public », déclare Mme Gosselin.  

Utopie est une œuvre interactive et luminocinétique, en deux temps, diurne et nocturne. Elle propose une expérience à grande échelle qui s'intègre en continuité avec l'architecture du site tout en créant un contraste avec l'aménagement prévu pour la future allée Calder. En mode diurne, Utopie utilise la présence humaine au cœur de l'espace citoyen du parc Jean-Drapeau. Les éléments formels évoquent la vision d'un futur connecté, non hiérarchisé où le génie humain est mis au service d'un idéal commun qui se construit en symbiose avec l'environnement. L'ensemble du projet se veut une évocation des ambitions sociales et politiques, qui vont au-delà des utopies rêvées par les générations ayant foulé la Terre des Hommes. 

Plus d'une quarantaine de candidatures ont été reçues et jugées par les membres du jury à la suite d'un appel de candidatures au printemps 2018. Les quatre finalistes désignés ont ensuite réalisé une «proposition complète d'œuvre d'art». Des propositions de Chloé Desjardins, Marc-Antoine Côté, Patrick Bérubé et Jonathan Villeneuve, c'est celle de ce dernier qui a été choisie par un jury composé de professeurs, d'experts et d'artisans du milieu culturel montréalais.

Utopie sera déployée dans trois lieux différents de l'allée Calder, à proximité de la station de métro Jean-Drapeau. Elle s'ajoutera à des œuvres phares des années 1960 et 1990 déjà en place et  qui témoignent de l'histoire moderne de Montréal et de ses liens d'amitié avec d'autres grandes villes. Ces œuvres sont Trois disques (L'Homme) d'Alexander Calder, Le Phare du cosmos d'Yves Trudeau, La porte de l'amitié de Sebastien et Signe solaire de Jean LeFebure.

Dotée d'un budget de plus de 750 000 $, l'œuvre de Jonathan Villeneuve s'inscrit dans le cadre du projet d'aménagement de l'amphithéâtre et de l'allée centrale, soit la phase 1 du Plan d'aménagement et de mise en valeur du secteur ouest de l'île Sainte-Hélène. Conformément à la Politique d'intégration des arts à l'architecture et à l'environnement des bâtiments et des sites gouvernementaux et publics du gouvernement du Québec, cette œuvre d'art sera conçue spécifiquement pour ce lieu. 

Des photos de la future œuvre de Jonathan Villeneuve sont disponibles ici. 

 

[FollowTheLeader]

mouai..C'est assez 'utopique' d'avoir des rendus de nuit avec les etoiles aussi claires que ca 😂

[IluvMTL]

https://www.citylab.com/design/2019/01/montreal-parc-jean-drapeau-concerts-osheaga-festival-calder/580900/?utm_medium=social&utm_campaign=citylab&utm_content=edit-promo&utm_term=2019-01-25T15%3A37%3A47&utm_source=facebook&fbclid=IwAR01UhS5XC--mN09fM5DKw5IWw_TxxdMTwFTqdYiV7n50Tk1B8Bs3grZKEQ

 

CITYLAB

 

Just one Metro stop from the city, the 662-acre park spread out over two islands has long been a reprieve from city life, offering visitors a place to bike, swim, picnic, and to see important works of art and architecture, like Buckminster Fuller’s geodesic dome and the nationally treasured Trois Disques sculpture by Alexander Calder. Parc-Jean Drapeau

The Controversial Renovation of Montreal’s Beloved Public Park

1. TRACEY LINDEMAN

 JAN 22, 2019

Parc-Jean Drapeau’s redesign attempts to balance priceless serenity and outdoor art with profitable festivals. Many Montrealers are skeptical.

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Parc Jean-Drapeau is a Montreal gem, but after 50 years of service, it was starting to show its age.

Just one Metro stop from the city, this 662-acre park spread out over two islands is a reprieve from city life, offering visitors a place to bike, swim, picnic, and to see important works of art and architecture, like Buckminster Fuller’s geodesic dome and the nationally treasuredTrois Disques sculpture by Alexander Calder. The park, built for Montreal’s Expo 67, is also home to major attractions like the amusement park La Ronde, the Montreal Casino, and the Formula 1 racetrack. Eight million people visited Jean-Drapeau in 2017. (Mont-Royal, the city’s second-biggest park, gets five million annual visitors.)

But a number of Expo 67 sites have fallen into disrepair, including the once-important Place des Nations concrete amphitheater. And after major events like three-day music festival Osheaga, parts of the compacted-soil park would be reduced to rubble. On dry days, clouds of dust choked fans. If it rained, the floor turned into a slippery mud pit. The roots of some of the park’s 16,000 trees groaned under the weight of thousands of shade-seeking fans. 

Is it a private concert venue or a public park? Can it somehow be both at the same time?

So the Société du Parc Jean-Drapeau—the non-profit, paramunicipal organization that takes care of the park—decided to renovate the main festival grounds and its surrounding area for CDN $73.4 million. Envisioned by the architecture firm Lemay with the engineering firm WSP, the renovation is scheduled to wrap up this spring and includes a new 65,000-person amphitheater. (Another $59 million went to creating new paddocks at the F1 track.)

In true Montreal fashion, it wasn’t without controversy. More than 1,000 trees got cut down—”a tree massacre,” according to the city’s official opposition at the time. “All the trees that were cut down were in terrible shape,” counters Catherine Saint-Pierre, an architect and the project manager for the park’s redesign.

 

Citizens worried that the commitment to major events would make the public feel unwelcome. Event promoters, meanwhile, remain concerned that the renovations may prevent them using areas outside the amphitheater.

The plan ultimately begged important questions: What’s the point of Parc Jean-Drapeau? Is it a private concert venue or a public park? Can it somehow be both at the same time?

A legacy of public art

Before it was Parc Jean-Drapeau, it was just an island located in the St. Lawrence River previously occupied by Iroquois and possibly other indigenous tribes. In 1610, French explorer Samuel de Champlain visited the island and named it Île Ste-Hélène, after his 12-year-old wife.

Fast-forward some 350 years, and the island was expanded and joined by another, Île Notre-Dame. The man-made Notre-Dame was created from rock excavated during the 1960s construction of the Montreal Metro. Together, the islands formed the site of Expo 67 AKA “Man and His World”, an iconic World’s Fair that conjures up nostalgia for many Montrealers. The park was renamed in 1999 after former mayor Jean Drapeau, the architect of Expo 67 among other major infrastructure projects.

Roger La Roche was 13 when he worked as a cook at Expo 67. The historian and retired professor has vivid memories of the World’s Fair; he made meat pies and sugar pies from 7 a.m. to 7 p.m. each day, with a three-hour afternoon break. During his free time, he’d set off to explore the islands, home to 90 exposition pavilions (including the famous Habitat 67) and nine works of public art.

 

“The main objective of Expo 67’s planners was to make the site completely human-sized,” La Roche says. Planners used a passive wayfinding design approach to reveal sculptures, gardens, and streams throughout the site, he adds. “Even if there were people everywhere, you could still feel isolated, in your own bubble. That’s what they wanted.”

Most of the trees around Alexander Calder’s Trois Disques have been removed in order to give an unobstructed view of the sculpture, with the cityscape as a backdrop. Architect Saint-Pierre says the the design is in line with more contemporary landscape design trends. (Parc-Jean Drapeau)

He feels the new renovations, which favor major entertainment events, are a disservice to the park’s natural setting and might dissuade people from visiting on their own. The Calder, for instance, used to be flanked by trees, allowing visitors to discover it as they wandered the grounds.

 

Now, the Calder sits next to the amphitheater, ready for its Instagram closeup—especially since the Montreal Museum of Fine Arts’ current Calder exhibit, which has already attracted more than 100,000 visitors. A long cement concourse (named Allée Calder) leads visitors from the Metro station to the main festival site. Most of the trees around Trois Disques have been removed in order to give an unobstructed view of the sculpture, with the cityscape as a backdrop. Architect Saint-Pierre says the the design is in line with more contemporary landscape design trends. “Now you want big, open views to know where you are,” she says.

The Calder is not the only sculpture there, and the park isn’t just the amphitheater. The other 16 outdoor sculptures, which include a new piece by Jonathan Villeneuve commissioned as part of the renovation, are still scattered throughout the site. (As per provincial policy, the park had to spend one percent of its construction budget on public art.)

Montreal’s Public Art Bureau did, however, take advantage of the park’s renovation to restore and move some of the works, says Michèle Picard, the bureau’s director of cultural development. To her, the sculptures are a huge part of what keeps the park interesting for the general public. “It’s important to have that in good shape, because there’s a lot of people seeing them,” she says.

Concerns over park access remain

Though some improvements were made around the Metro station, most of the $73.4-million budget went to the new amphitheater. Gone is the packed soil that concert-goers used to traipse around and dance on; now they’ve got stone and concrete (and a small patch of grass). The area is devoid of trees and shade, which could leave people to bake on the concrete during Montreal’s hot summers.

The amphitheater is arguably much larger than necessary. Osheaga has sold out its 45,000 tickets each of the past five years, says Nick Farkas, a vice-president at Evenko, the promoter that organizes the festival. Even if Osheaga manages to sell an additional 20,000 tickets per day, it’s the only festival that can make the most of the amphitheater’s size. All of Evenko’s other outdoor festivals at the park—Île Soniq, Heavy Montreal, and 77 Montreal—draw much smaller crowds.

The venue is modular, however, meaning the stage can be moved to shorten the floor—crucial to creating a sense of intimacy at outdoor shows, says Farkas. “From what we’ve seen so far, it’s just more flexible and it’s going to give us better opportunities than what was there.” The amphitheater also has underground wiring, more lighting, and better drainage.

The amphitheater design is modular, meaning the stage can be moved to shorten the floor—crucial to creating a sense of intimacy at outdoor shows, says Evenko VP Nick Farkas. (Parc-Jean Drapeau)

Still, concerns remain about Evenko’s ability to use the rest of the park. “What makes our festivals so special is having those satellite stages in the woods and [elsewhere on the site],” he says. The secondary sites let ticket holders see smaller or more niche bands, and gives them an opportunity to walk around and get out of the sun. They’re also important for events that draw smaller crowds.

In September, Evenko and the organizers of Piknic Électronique, a summertime weekly dance party at the park, circulated petitions asking to maintain their access to non-amphitheater areas. A media spokesperson for Jean-Drapeau says it is “looking at all the possibilities for various sizes of stages, and nothing has been confirmed for now.”

Farkas says the purpose of the petitions was to make sure Jean-Drapeau could continue as both a public park and gathering space, which he feels was the true intent of Expo 67.

“The site is spectacular. The city’s goal is to have one of the best state-of-the-art festival gathering places in the world,” says Farkas. “We want to stay there forever, if we can.”