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- Initialement prévue en mai 2011, l’inauguration du nouveau parc devra attendre encore plusieurs mois
- L’aménagement du parc se fera en même temps que la construction des tronçons 4 et 5 du chemin de ceinture, d’ici 2013
JENNIFER GUTHRIE
MÉTRO
Publié: 11 juillet 2011 16:30
Annoncé en grande pompe en septembre 2009, le parc prévu sur le Troisième sommet du mont Royal devait être inauguré en mai dernier. Or il n’en est rien. Les Montréalais devront plutôt attendre jusqu’en 2013 pour apprécier ce nouvel espace.
La Ville de Montréal a finalisé, au printemps, l’entente avec l’Université de Montréal et le Cimetière Notre-Dame-des-Neiges, qui prévoit la cession de 13 hectares de terrains par les deux institutions. Ces espaces sont nécessaires à l’aménagement du nouveau parc, qui aura une superficie totale de 23 hectares.
Présentement, le site est difficilement accessible, bien qu’il soit ouvert au public. La Ville a donc choisi de combiner l’aménagement du parc à la construction des tronçons 4 et 5 du chemin de ceinture du mont Royal, qui relieront le Troisième sommet au bois Saint-Jean-Baptiste et à sa forêt de chênes, unique à Montréal.
«Ces tronçons sont nécessaires pour rendre le parc du Troisième sommet accessible aux piétons, a expliqué Valérie De Gagné, porte-parole de la Ville. Deux kilomètres de chemins doivent être aménagés, en plus du parc.»
Un appel d’offres a été lancé à la fin du mois de juin. Les travaux devraient débuter l’année prochaine et être complétés en 2013.
«On avait peut-être été un petit peu optimiste quand on avait dit que le parc pourrait être inauguré en 2011, a admis Mme De Gagné. C’est un très gros projet, dans lequel plusieurs partenaires sont impliqués. On a dû négocier avec plusieurs parties, en plus de faire des études environnementales et patrimoniales.»
Au terme des travaux sur le Troisième sommet et sur les tronçons 4 et 5 du chemin de ceinture, il ne restera qu’à compléter la sixième et dernière section du chemin pour que les piétons puissent enfin parcourir le mont Royal d’une extrémité à l’autre, sans interruption.
- Initialement prévue en mai 2011, l’inauguration du nouveau parc devra attendre encore plusieurs mois
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NEW YORK - Le Today Show, émission matinale la plus écoutée aux États-Unis, transporte son plateau à Montréal cette semaine pour enregistrer deux émissions en direct. Le Québec bénéficie de toute une visibilité, puisque l’émission est suivie en moyenne par cinq millions de téléspectateurs par semaine.
C’est la première fois que l’émission matinale phare du réseau NBC enregistre une heure entière en dehors des États-Unis et ils ont choisi Montréal.
La 4e heure du Today Show est animée par les animatrices Kathie Lee Gifford et Hoda Kotb dans les studios de Rockefeller Center à Manhattan. Le format ressemble un peu à l’émission Les Lionnes de Radio-Canada. Les deux animatrices sont d’ailleurs parodiées de façon récurrente par les acteurs de Saturday Night Live.
UNE VITRINE POUR LE QUÉBEC
En tout, une soixantaine de membres de l’équipe du Today Show arrivent à Montréal demain et les émissions sont diffusées en direct les jeudi 14 et vendredi 15 juillet.
Le Bureau Destination Québec à New York se réjouit de cette nouvelle : « ça fait cinq ans qu’on essaie de les attirer, c’est une grosse vitrine pour le Québec », dit Yves Gentil, directeur du Bureau.
En effet, le Today Show domine le créneau des émissions matinales aux États-Unis avec des cotes d’écoute entre 4 et 6 millions chaque semaine. C’est plus élevé que ce que récoltent Good Morning America (ABC) et The Early Show (CBS).
« Je dirais que ce qui les a finalement convaincus, c’est le buzz qu’il y a autour de Montréal avec des artistes comme Arcade Fire et les propos tenus par Paul Giamatti (l’acteur a remercié Montréal aux Golden Globes en janvier dernier). En plus, ils tombent sur le festival Just for Laughs », explique Pierre Bellerose, vice-président relations publiques de Tourisme Montréal.
LES BARENAKED LADIES ET DE LA POUTINE
Parmi les deux émissions captées à Montréal, une sera enregistrée en direct de la Place Jacques-Cartier jeudi entre 10 h et 12 h 30. Le public peut prendre part à l’événement en arrivant sur place dès 9 h.
Selon le communiqué du réseau NBC, les animatrices mettront en valeur les particularités culturelles du Québec et recevront quelques invités locaux.
Il y aura des performances du Cirque du Soleil et des Barenaked Ladies. Les deux animatrices vont aussi apprendre à faire de la poutine et danser le tango à Montréal.
LE QUÉBEC SUR TWITTER
Les animatrices réunies comptent environ 100 000 abonnés sur Twitter (@KathieLGifford et @hodakotb) et comptent alimenter les réseaux sociaux de leurs découvertes québécoises.
Kathie Lee Gifford est l’ancienne animatrice de Live avec Regis Philbin du réseau ABC, le poste est maintenant comblé par Kelly Ripa.
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http://www.channelcanada.com/Article5854.html
Monday, July 11, 2011 - 06:22 PM
Muse Entertainment has begun production in Montreal of the second season of the hit sci-fi series Being Human. The 13-episode series is about three paranormal roommates and stars Sam Witwer (Smallville, CSI), Meaghan Rath (Prom Wars, 18 to Life) and Sam Huntington (Fanboys, Superman Returns. Dichen Lachman (Doll House, Torchwood) joins the cast this season playing a reclusive, centuries-old, vampire royal.
Being Human became an instant hit for US network Syfy when it premiered in January 2011, averaging 1.8 million viewers, and making it Syfy’s most successful, winter-season, scripted series launch in 6 years. In Canada, the debut was the most successful new series launch in winter/spring for SPACE since 2005.
Being Human explores what it means to be human through the eyes of its supernatural outsiders: Aidan (Witwer), a vampire, Sally (Rath), a ghost and Josh (Huntington), a werewolf. By turns frightening, witty, and romantic, the characters struggle on with their double lives, while trying to appear normal.
Based on the highly popular UK series produced by Touchpaper Television, Being Human is produced by Muse Entertainment in association with Zodiak Media, for Syfy and for SPACE in Canada. Zodiak Rights distributes the series around the world.
Executive Producers of the series are Michael Prupas (The Kennedys, Pillars of the Earth), Jeremy Carver (Supernatural) and Anna Fricke (Men in Trees, Everwood) who are both writers/showrunners, Adam Kane (Heroes, Pushing Daisies), Rob Pursey and Toby Whithouse. Irene Litinsky is series Producer. Pierre Jodoin is Director of Photography and Zoe Sakellaropoulo is Production Designer. Adam Kane and Paolo Barzman (The Last Templar, Dr. Jekyll & Mr. Hyde) are directing the first three episodes. Directors for the other episodes will be announced later.
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Les animatrices du Today Show, Hoda Kotb et Kathie Lee Gifford.
PHOTO: AP
La Presse Canadienne
Montréal
Les animatrices du Today Show, Kathy Lee Gifford et Hoda Kotb, seront de passage à Montréal jeudi et vendredi afin d'enregistrer deux épisodes de la populaire émission matinale américaine.
C'est la première fois que la quatrième heure du Today Show, qui est diffusé sur les ondes de NBC depuis 1952, sera tournée à l'extérieur des États-Unis.
L'épisode de jeudi sera présenté en direct de la place Jacques-Cartier, dans le Vieux-Montréal, de 10h à 12h30. Le public aura la possibilité d'assister au tournage.
Pour l'occasion, Kathie Lee et Hoda recevront des invités passionnés par le Québec, offriront des prestations d'artistes d'ici, dont le Cirque du Soleil et les Barenaked Ladies, et feront de la poutine.
Les animatrices seront accompagnées d'une équipe d'une soixantaine de personnes qui seront sur place dès mercredi.
Originellement d'une durée de deux heures, le Today Show a été prolongé d'une heure en octobre 2000 puis d'une autre en septembre 2007. Il s'agit de la seule émission matinale nationale de quatre heures de la télévision américaine.
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Pointe-à-Callière, Musée d'archéologie et d'histoire de Montréal
Ce soir au téléjournal de Radio-Canada Montréal à 18 h, reportage sur les fouilles archéologiques de la place D'Youville. La journaliste Renée Dumais-Beaudoin a préparé un reportage aujourd'hui. Elle était en compagnie de la journaliste Mélanie Houde pour les nouvelles de la Première chaîne radio. Son caméraman a joué à l'équilibriste!
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http://www.ledevoir.com/societe/actualites-en-societe/327144/reinventer-la-ville-consacrer-le-square
Le chantier du square Dorchester et de la place du Canada à mi-parcours
Stéphane Baillargeon 11 juillet 2011
Photo : Annik MH De Carufel - Le Devoir
Le contrat de planification du réaménagement et de la mise en valeur du square Dorchester et de la place du Canada a été accordé à Claude Cormier architectes paysagistes et à la firme Cardinal Hardy en l’an 2000.
Il faut plus que du béton et de l'asphalte pour développer une rue, un quartier, une ville à échelle humaine. Le Devoir poursuit sa série intermittente sur les exemples québécois à suivre et les erreurs à ne plus répéter. Aujourd'hui: comment refaire un important lieu de mémoire doublé d'un fabuleux espace vert au centre-ville de Montréal?
À lieu de prestige, architecte de renom. Le square Dorchester et la place du Canada constituent des lieux emblématiques de l'âge d'or de Montréal, ancienne métropole du pays-continent, au temps du dominion. Pour leur redonner vie, splendeur et attrait, après des décennies de négligence et d'aménagements malheureux, il fallait un praticien hors-pair ayant multiplié les preuves de son immense talent. Bref, il fallait Claude Cormier et ses associés, qui peuvent maintenant dire «mission à moitié accomplie» puisque le chantier arrive à mi-parcours.
«C'est rare et en même temps extraordinaire de pouvoir travailler sur un site comme celui-ci, explique M. Cormier, rencontré la semaine dernière à «son» square. C'est un endroit très chargé d'histoire et de symboles, le lieu le plus convoité à son époque au Canada. C'est un concentré de nos dualités fondatrices, avec les Anglais et les Français, les catholiques et les protestants, la modernité et la tradition. C'est aussi une grande création du Montréal prospère et glorieux qu'on aimerait retrouvé aujourd'hui.»
Le plus fameux architecte paysagiste du pays jouit lui-même d'une excellente réputation ad mari usque ad mare et au-delà des mers. On lui doit les boules roses qui égayent le Village cet été. Il aménagera bientôt une plage urbaine dans le Vieux-Port de Montréal, comme Toronto lui doit déjà Sugar Beach. Il a planté une forêt bleue à Detroit, une pergola au Havre et un jardin à Shanghaï.
Sous la pelouse, les morts
Le square Dominion et la place du Canada, formant à l'époque le Dominion Square, ont été aménagés ici entre 1876 et 1880. Ce projet est décrit dans la documentation de M. Cormier et de ses partenaires comme «le plus important en matière de planification, de taille et de raffinement des formes paysagères de l'histoire de la ville». La superficie totale de l'espace urbain élaboré par un ingénieur de la Ville, Patrick Macquisten, dépasse celle du square Viger et du square Victoria, datant de la même période, comme le parc du Mont-Royal, le parc Lafontaine et celui de l'île Sainte-Hélène. «C'est un programme très bien pensé, dit M. Cormier. Les deux espaces unis conservent leur personnalité. On est face à du grand art.»
Le bel ouvrage a été implanté sur d'anciens cimetières chrétiens et juifs. Les récents travaux d'excavation ont d'ailleurs déterré une dizaine de tombes «oubliées» après les exhumations expropriatrices des années 1860. Il reste des milliers de squelettes de l'autre côté de l'ancien boulevard Dorchester, sous la place du Canada, les tombes y étant souvent à fleur de sol. Claude Cormier et son équipe ont eu la touchante idée de rappeler la nécropole en insérant dans le granit des allées de discrètes croix qui imitent celle indiquant l'emplacement des cimetières sur les plans. Les symboles se démarquent davantage après la pluie.
«Cette idée a passé assez bien», dit-il, en ajoutant qu'il a fallu un peu occulter d'autres références symboliques. Par exemple, en n'expliquant pas dans les documents que le tracé des allées du square imite l'Union Jack, enfin l'intégration en un seul emblème des croix des saints Georges, André et Patrick.
Il y a bien pire comme perversion. À la longue, comme souvent ici, les héritiers ont carrément dilapidé le merveilleux héritage. Au XXe siècle, le square a perdu le quart de sa surface. Et pourquoi? Pour que soient aménagés au nord deux accès à un stationnement souterrain et une rue pour les cars de tourisme! Le sud a subi des «modernisations» successives qui ont complètement déstructuré sa logique. «Le site était dans un état lamentable quand on a commencé les travaux», résume M. Cormier.
Le «nouveau» parc urbain en jette déjà avec ses monuments restaurés, concentrés de symboles de l'ancien empire sur lequel le soleil ne se couchait jamais, dont un bloc avec sculpture de bronze en hommage aux héros de la guerre des Boers. Des coupes ont permis d'éliminer seize érables de Norvège et de planter autant d'érables argentés, moins opaques et donc plus généreux en lumière pour la pelouse et les luncheurs sur l'herbe. Les allées en granit délimitent ces espaces gazonnés légèrement bombés pour accentuer l'effet d'isolation des rumeurs du centre-ville. Cette très belle première phase a coûté environ sept millions de dollars.
«Nous avons souhaité corriger certains choix étonnants, dit l'architecte qui préfère parler de «réactivation» plutôt que de rénovation. «Au nord, la rue du Square-Dominion est large comme le boulevard Métropolitain et les autobus qui stationnaient devant le Centre Infotouriste depuis trente ans formaient un mur de véhicules disgracieux. Notre idée fondamentale a donc été de revenir au plan d'origine, par exemple en rétablissant les pattes d'oie du parc tout en rétrécissant certaines voies de circulation.»
L'oeuvre inachevée
En fait, les sentiers du square ne débouchent toujours pas aux extrémités idéales, puisque la courte mais très large rue du Square-Dorchester, datant des années 1980, n'a toujours pas été éradiquée. Les entrées des stationnements souterrains occupent la même place aberrante à l'intérieur du parc. Le kiosque central n'a pas été déplacé latéralement pour faire place à un bassin-fontaine. Bref, il reste encore beaucoup à faire.
En plus, la Ville vient de fermer la rue du Square-Dorchester à la circulation motorisée, parce que la capacité portante du toit du stationnement souterrain inquiète les ingénieurs. Les travaux de correction débuteront à l'automne et la Ville annonce son intention de compléter en 2013 les aménagements de tout l'ancien Dominion Square. Restera à voir si les propositions d'ensemble des «réactiveurs» seront respectées intégralement.
Le contrat de planification du réaménagement et de la mise en valeur du square Dorchester et de la place du Canada a été accordé à Claude Cormier architectes paysagistes et à la firme Cardinal Hardy en 2000. La passation des pouvoirs du maire Bourque au maire Tremblay a congelé les intentions de réfection jusqu'en 2007. Les alliés ont ensuite supervisé la réalisation de la première phase des travaux, terminée l'an dernier seulement. Ce qui fait une décennie pour moins de la demie du projet! La capacité de prorogation de cette ville atteint des proportions soviétiques...
En plus, les règles d'attribution des contrats municipaux obligent maintenant à confier les phases subséquentes à d'autres architectes. Claude Cormier s'accommode de cette obligation qui l'expulse dorénavant de son plan d'intervention. Il trouve plus difficile l'obligation de toujours faire exécuter les travaux par le plus bas soumissionnaire. «On a eu une bonne équipe malgré tout, dit-il finalement en contemplant son oeuvre inachevée. On devrait faire une moyenne, comme les propriétaires privés qui ne considèrent pas que le prix quand vient le temps de confier un contrat. On obtiendrait une bien meilleure qualité dans les ouvrages publics.»
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Although some people were critical about the Métro system for getting to and leaving Namur Station (Blue Bonnet's site for the U2 concert), can you imagine the chaos if they had to use a tramway?
With street closures and masses of people blocking streets around major events (fireworks, outdoor jazz and other shows, parades...), I wonder if they woud even use a downtown tramway durng those instances...
And what about our infrastructure record? Our water pipes have a tendancy to burst without notice. That might close down certain lines for up to a year...
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Preparatory treatment before the laying of the pavé (land around the perimeter of the Hall on the plaza).
Check out the picture from the Live Cam.
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This version would be too small (too popular) for Montréal though. Can you imagine this floating along the St-Lawrence for the day...
Budapest Barge (see the other pics this link)
http://designeast.eu/2009/07/28/barge-beach-budapest-by-urban-landscape-group/
Hungary-based design team Urban Landscape Group recently completed an extraordinary summer project that allows visitors to float down the Danube in a portable pool! Dubbed Barge Beach Budapest, the sandy sailing island acts as a contemporary Turkish bath and open air pool situated in the waterways between the river’s edges. The pop up beach is constructed from three recycled barges and provides residents with a brand new public space to bask in the sun.
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http://blog.shiftboston.org/2010/05/barging-through-boston
BARGING THROUGH BOSTON
MAY 13TH, 2010 BY LIN YANG
Since the 2009 SHIFTboston design competition, Ashley D’Ambrosio and I (Nicolas Biddle) have added a new member to our group, Ashley Morelli, to help develop the project ‘Barging Through Boston: Mobile Parks on the Waterfront’. It has always been our intention since we worked on the original design for the competition, to try and make this project a reality. For us it has always been more than just an idea, but an idea that could present some real advantages for Boston’s Waterfront.
Our idea is to create mobile event space on Boston’s waterfront using barges. The goal of the project is to activate the underused waterfront by docking barges to existing pier infrastructure. The key is that since barges are mobile, they can dock anywhere where there is need, and potentially targeting economically distressed waterfront areas. The project should generate tourism and hopefully benefit local businesses by bringing people to the proposed events that will take place on the Waterfront.
Our proposal has been modified on several levels to make it more capable of development. The initial idea was envisioned as a city-funded development, whereas the current proposal would function solely as a series of privately funded ‘events’. We are currently working on three specific event applications; A beach Barge scenario (to be possibly docked alongside Piers Park), a tradeshow/pavilion scenario (catering to corporate/ commercial expositions), and a media/ art pavilion event (functioning as an extension to ICA exhibits). We have chosen specific locations that according to preliminary site investigations, would be capable of hosting these event scenarios. These events would take place on series of 30’ x 90’ barges. Depending on the event, the barges would operate for several months in a specific location. The key is to place these events in strategic locations that would benefit local businesses, in underused areas in order to increase the flow of people.
We are using several precedents in Europe as a way to guide our own ideas. We have been specifically looking at Paris’s Paris Plage, and the Beach Barge in Budapest, built in 2009. These are projects that I have personally visited, and they are projects that have been huge successes in Europe. We have also looked at the Puma City project, which was placed at Fan Pier last year, and generated a lot of activity on the waterfront.
We have been in contact with several established business people in the Greater Boston area that see great potential in the project, and most importantly see the benefits to the city that the project will provide, as well as, the economic incentive inherent in the business plan. We have consulted with financial people and made alliances with local barge suppliers. We have also met with several business consultants and received some exposure from the local press, (featured recently in an article in the Boston Business Journal). Our next step is to pursue our initial contacts with local city officials to help push the project along. It is quite hard to develop a project of this sort in Boston, but we believe it is possible, and we hope that our belief will make our vision a reality.
We are continuously updating our website with project information and updated designs, so if you are curious please feel free to visit http://www.conceptna.com and leave your feedback on our blog.
- Nicolas Biddle
Categories: Competitions/Events, Transportation
Tags: Boston, Event
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International ideas competition yul-mtl : Moving landscapes
july 5th, 2011 by elizabeth tereshko
The International Ideas Competition is aiming to create the opportunity to propose planning options for the 17 km gateway corridor that links the Montreal-Trudeau International Airport to downtown Montreal. The new vision competition is aiming to create an expressive gateway that will boost Montreal’s identity as a UNESCO City of Design and also in celebration of the 5th anniversary in 2011. We wanted to learn more about this competition and how Patrick Marmen, the Research Advisor of the competition, views Monetreal and what he hopes to see in the designs. More details about the International Ideas Competition can be found here.
1) Montreal has been an UNESCO City of Design since 2006, how do you hope the YUL-MTL Moving Landscapes International Ideas Competition will help benefit the city’s innovation in design?
In granting Montréal the title City of Design, UNESCO has acknowledged the city’s creative potential in the design disciplines, based on the strong concentration of talent here as well as the commitment and determination of the Ville de Montréal, other levels of government and civil society to build on those strengths for the purpose of enhancing Montrealers’ quality of life. This designation was first and foremost an invitation to create in Montreal a state of mind where everybody from city officials to corporate CEOs introduce design early in the planning process of their projects. The goal of the Montréal UNESCO City of Design initiative is to enhance the design quality of the objects, buildings and public spaces intended for Montrealers through better upstream integration of project designers in various disciplines. The aim of the competition is exactly to do that. The infrastructure projects as well as the commercial and industrial developments that are going to take place in the gateway corridor often seems to be planned along functionality, safety and traffic flow considerations putting on the side design issues and the visual experiences of users. To prepare the Competition Vision we brought together 16 representatives from public and private organisations responsible for the planning and development of this territory including local boroughs, the City of Montreal, regional planning agencies, transport agencies and the airport authorities. Together they draft their expectations for the gateway corridor that we translated into design themes and guidelines for the competition. After the competition, our intent is to built on this collaborative process, using the winning proposals as an input, to generate a consensus on a common design strategy for the corridor. This strategy could be translated into a planning document such as a Design Pact. Thus, the design side of planning would be consider not only for a singular project on a limited scale but on a multitude of projects reaching the regional scale and creating the effect of a genuine territorial project built on and around design issues.
2) What made you decide on the gateway corridor between downtown Montreal and the airport as the focal point for the YUL-MTL Moving Landscapes International Ideas Competition?
Montreal is located at a continental crossroad: the St. Lawrence east-west axis towards inner Canada and the Richelieu River/Lake Champlain/Hudson River north-south axis towards New York. This location as profoundly contributed to Montreal’s identity as an industrial and merchant city and as cultural and creative city. The artifacts of this historical development process are nowhere more visible in Montreal than in the corridor linking the Montreal-Trudeau international airport to downtown. This corridor is constituted of a mid-eighteen century canal, multiple railways from the end of the eighteen century and a highway system dating back from the fifties. Except for the canal which is nowadays used only for recreational purposes, those infrastructures are in dire needs of refurbishments. Moreover, most of the industrial lands are now constituted of brownfields. The territory that built up Montreal is now on the verge of a large scale renewal. Nowhere in Montreal, are we in the presence of such a large amount of infrastructure and development projects that could redefine the city’s identity.
3) What types of proposals and design ideas do you hope to receive as entries?
The invitation to designers is to proposed large scale strategy to frame the infrastructural landscapes between the Montreal-Trudeau airport and downtown. These strategies should be articulated around three main themes: - The creation of a distinctive image for the gateway corridor that enhanced Montreal industrial and natural heritage but that also insert new landmarks which promote its identity as a creative city. - The implementation of a scenographic composition that is structured around the point of view of the infrastructure users, which mean that the landscape will not be perceived in a static manner such as in a belvedere but in a dynamic one where visual perception is influenced be the kinetic effect of movement. - The revitalisation of neighbouring living, working and natural environment along sustainability principles.
4) Are there any specifics of the landscape that designers should keep in mind?
The urban landscape of Montreal is mostly defined by the dialogue between the Mount Royal, the mountain located in its center, and the CBD’s skyline which created the visual effect of a second mountain. These two local landmarks are easily visible in some part of the gateway corridor. A third local urban landscape characteristic of Montreal is the dense and small scale working class neighbourhoods built between 1850 and 1930. The elevated parts of the highway created interesting views over the roofs of some of these neighbourhoods. Then, there are more landscape characteristics that define the identity of the territory between the airport and downtown. Those are:
- St. Jacques escarpment: undeveloped due to its steep topography, this linear natural space is defined as a conservation area but no enhancement project has been planned.
- Former Turcot railway yard: this large brownfield along the St. Jacques escarpment will be completely redeveloped in the next 10 to 15 years.
- Industrial buildings: some industrial buildings along the highway, such as the former GE and Cancar plants, could become local landmarks due to their scale and proximity to the highway.
- Highway superstructures: Symbols of the fifties and sixties optimism, the very high highway superstructures such as the Turcot and St. Pierre interchange are important features of the Autoroute 20. Altough the Turcot interchange will be reconstructed with lower structures in the coming months, the rebuilding project for the St. Pierre interchange is not yet elaborated.
5) How do you hope Montreal will look in the next 100 years?
Such a long term prediction asks to develop a prospective vision of Montreal that is based on strong trends of development. It should for example consider the environmental crisis that we are going through, the domination of cities as the main living and working environment and the impact that new technologies will have on architecture as well as on our daily life. On these terms, we can oversee that Montreal will have to redevelop itself in its existing boundaries, doing the most of underused spaces such as large brownfields but also other smaller unexploited spaces such as roofs. This kind of redevelopment will bring major transformations in the way we see our city. First, it will ask us to consider Montreal as a large ecosystem where developed land is not divided from conservation areas but where they are both interconnected. Second, we will have to consider a new relationship with the public spaces, one that take into account the density of our future city as well as an increased speed in the flow of information.
The International Ideas Competition YUL-MTL: Moving Landscapes is exactly looking to put forwards the first step in the process of preparing Montreal to do these changes. In a smaller time frame it looks to:
- Implement high quality living environments composed of dense neighbourhood, animated public spaces where people meet and exchange ideas, well connected natural and recreations areas.
- Built better access to the world through improving the highway and railway links between the airport and downtown, implemented high-speed railway link with Toronto and New York.
- Put Montreal as a center of urban sustainability innovation. To implement that vision we have to stay open to new ideas. Montreal’s unique position as Canada cultural metropolis comes from the historical gathering of people from multiple cultural backgrounds. This characteristic have made of Montreal a place where it is more easy to collaborate and create and should position the city in a good place to be able to take up these challenges.
http://blog.shiftboston.org/2011/07/international-ideas-competition-yul-mtl-moving-landscapes
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A bit of a stretch...
What part of Broadway they talking about? The Time Square area? If we had more theater shows, taller buildings and bright lights to distract people I guess it could be like Broadway. -
From the BBC site
01 July 2011 | By Tanya Mohn
Montreal’s Quartier des Spectacles, a square kilometre in the city’s downtown devoted to the arts, is a one-stop shopping destination for culture vultures. Offerings include classical music concerts, opera, ballet, comedy and improv, and funky urban street performances.
The Quartier des Spectacles, (French for “entertainment district”), has more than 80 cultural venues and hosts about 40 festivals a year, an entertainment hub rivalled only by New York City's Broadway, some experts argue.
“Montreal is not a huge city like Paris or New York, but it’s become some sort of international hub of creativity,” said Pierre Fortin, executive director of the Quartier des Spectacles Partnership, a non-profit public organization that oversees the neighbourhood’s development.
“There is always something surprising and new and different in the area,” Fortin said. Earlier this year, for six weeks, 21 balançoires (swings), created music when people swung. And “the music becomes louder and in harmony”, when they swung synchronized, Fortin said. The project, designed by artists Melissa Mongiat and Mouna Andraos, is expected to return next year.
The Quartier, located around the Place des Arts and at the intersection of Ste-Catherine and St-Laurent Streets, has been the city's cultural heart for more than 100 years, and has a long and colourful history. In the 1920s, when the age of variety shows, “scopes” movie theatres and nightclubs were in full swing, the city’s Red Light district emerged as a destination “for pleasures of every kind”, according to Partnership materials. Prohibition in the US, as well as the area’s affordability, attracted many artists and cultural organizations.
But over time, the neighbourhood fell into decline. In recent years, the large public spaces and vacant parking lots were taken over by festivals. The International Jazz Festival, Just For Laughs, and FrancoFolies de Montreal -- three of the largest -- draw more than five million visitors every year, according to the Partnership.
In the early 2000s, a plan was conceived to redevelop and revitalize the area, the name Quartier des Spectacles was given, and the transformation began.
“In a lot of cities, you have to fight to make installations. But in Montreal, they promote it,” said Sakchin Bessette, co-founder and creative director of Moment Factory, a new media arts and entertainment studio that designs, among other things, multimedia urban public installations all over the world.
Last fall, the partnership commissioned Elixir, a 20 minute multimedia show presented in a very large water fountain. “It’s a love story between a water drop and a pixel,” Bessette said. “We took over the fountain and projected video and light on the water. When the light touched the water, it really created a beautiful effect -- a dance of water, light, video and music like dancing rainbows,” said Bessette, whose company’s motto is “We do it in public.”
Historically people would gather around campfires and share stories, but “now, in a world of personal screens and personal devices, it is important to have a reason to gather,” he said. “The Quartier brings all of the people together,” artists, residents, tourists, “in a kind of community”.
La Vitrine, a cultural information and last minute ticket booth, currently has a playful interactive light and video installation by Moment Factory, that will move to a new building, scheduled to open this autumn.
The Quartier’s overall plan includes the Luminous Pathway, which uses exterior lighting to highlight the facades of cultural buildings at night. A double line of red dots (red is a nod to the district’s “red light” history) on the ground indicates there is a cultural venue.
Also planned are the redesign and creation of many public spaces as well as a number of buildings currently in development, like the Maison des Grands Ballets Canadiens de Montreal, and the concert hall for the Montreal Symphony Orchestra, scheduled to open in September.
Last week, in collaboration with the One Drop organization, the partnership announced that Guy Laliberté, founder of Cirque du Soleil, will hold a special outdoor exhibition of photos from his recent trip aboard the international space station. Beginning 1 September, 65 large scale photos will be shown on the Promenade des Artistes.
Corresponding with Montréal Complètement Cirque’s performances at different venues throughout Montreal, from 7 to 24 July, passersby walking on a giant chessboard in the Quartier will trigger video projections that preview upcoming shows. And 50 circus artists will perform a variety of free mini shows in the Quartier. (The daily schedule will be posted on their Facebook page.)
“The real end is to have people smile and be happy in Montreal. That’s our mission,” Fortin said.
Upcoming festivals include:
- The Montreal International Jazz Festival through 4 July
- Festival International Nuits D’Afrique from 12 to 24 July
- Just for Laughs from 5 to 31 July
- Divers/Cité, a LGBT arts and culture festival, from 25 to 31 July
- The First Peoples’ Festival from 2 to 9 August
http://www.bbc.com/travel/feature/20110701-the-quartier-des-spectacles-montreals-broadway
- The Montreal International Jazz Festival through 4 July
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Les fouilles ont commencé sur l’ancien site du Parlement dans le Vieux-Montréal
Les visiteurs peuvent suivre une visite guidée des fouilles chaque après-midi
Les murs de fondations ont commencé a réapparaitre sous les coups de spatules des archéologues d’Ethnoscop.
-Éric Major
MATHIAS MARCHAL
MÉTRO
Publié: 05 juillet 2011 16:39
Peu de Montréalais le savent, mais la ville de Montréal a déjà hébergé le Parlement du Canada-Uni, bien avant qu’il ne déménage à Ottawa. Le Parlement était situé dans l’ancien marché Saine-Anne, place d’Youville. En 1849, cinq ans après l’installation des députés, il a été incendié par des manifestants anglophones. Ces derniers désapprouvaient la décision d’indemniser certains citoyens pour les pertes encourues lors de la rébellion des Patriotes de 1837-1838.
Depuis les années 1920, le site avait été remplacé par un vulgaire stationnement. «Nous, les archéologues, aimons les stationnements, car nous sommes alors sûrs que les vestiges du sous-sol sont préservés», explique Virginia Elliott, guide au Musée Pointe-à-Callières. C’est elle qui donne de petites visites gratuites autour du site en après-midi.
Les visites sont données en collaboration avec un guide du Centre d’Histoire de Montréal (CHM) qui est situé en face du site. «Les archéologues ont déjà découvert des entrées qui ne figuraient sur aucun des documents historiques», indique Tyler Woods, guide au CHM. La douzaine d’archéologues qui travailleront sur le site jusqu’au 4 septembre ont déjà retrouvé des ossements d’animaux et des restes de poteries.
La cerise sur le sundae consisterait à retrouver certaines des 25 000 archives du Parlement détruites dans l’incendie, mais aucun archéologue ne le dira ouvertement. Une fois les fouilles terminées, le site sera rebouché pour devenir un petit parc.
Des plans précis auront été établis pour la dernière phase d’un grand projet : relier le Musée Pointe-à-Callière au bâtiment de Douanes 400 mètres plus loin par le vieux collecteur William qui passait sous le Parlement.
Visites d’une trentaine de minutes
Jusqu’au 4 septembre
Du mardi au dimanche de 13h à 16h
http://www.journalmetro.com/linfo/article/908930--l-ancien-parlement-enfin-exhume
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Séance ordinaire du conseil d’arrondissement du mardi 5 juillet 2011
30.03 Budget - Autorisation de dépense
CA Direction de l'aménagement urbain et des services aux entreprises - 1114400048
Autoriser une affectation de surplus de 71 000 $ afin de couvrir les dépenses reliées à l'élaboration du Programme particulier d'urbanisme du Quartier des spectacles - secteur est (Quartier latin, Faubourg Saint-Laurent, CHUM)
http://ville.montreal.qc.ca/documents/Adi_Public/CA_Vma/CA_Vma_ODJ_ORDI_2011-07-05_19h00_FR.pdf
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Les pistes devront être au niveau de la rue, sinon pas adjacente au trottoir (ou au chemin piétonnier).
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Not surprised to hear that Orchestre Métropolitain subscriptions are selling well.
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MUSIC
ROBERT EVERETT-GREEN
MONTREAL— From Saturday's Globe and Mail
Published Saturday, Jul. 02, 2011 6:00AM EDT
here’s a lot of dust swirling around the northeast corner of Place des Arts, where a long trek through a desert of disappointed hopes is coming to an end for l’Orchestre symphonique de Montréal. After at least seven failed attempts to build a dedicated concert hall, the OSM is just two months away from its first rehearsals at the building known as l’Adresse symphonique.
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Ending on the right note
PHOTOS
The OSM's new home
Outside, its steep, four-storey glass front on Boulevard de Maisonneuve sets it apart from the ridged concrete wall of the Théâtre Maisonneuve next door. Unlike the rest of Place des Arts, which turns inward on a raised central plaza, the new building pointedly opens out to the street.
Inside, the auditorium looks like a concrete replica of a concert hall, with three balconies, a stage and no seats. Workmen are lining the terraced side balconies with the stiffened panels of Quebec beech that will eventually cover almost every surface. Each seating position on the sloping main floor is marked by a fist-sized vent, through which a slow-moving, inaudible mass of air will cool or warm the 1,900-seat room.
It’s noisy in here now, with power tools barking into use every minute, but when the hall is finished and empty, it should be utterly silent: The whole room is acoustically isolated on heavy rubber pads, like the Four Seasons Centre in Toronto, an earlier project by l’Adresse symphonique’s Diamond + Schmitt Architects.
The project is running on time for the opening performance, Beethoven’s Ninth Symphony, on Sept. 7. In another sense, it’s at least 20 years late, and is succeeding – just as some earlier hall projects failed – in part because of political factors beyond the OSM’s control.
Six years ago, Montreal arts maven and Liberal Senator Serge Joyal published a widely discussed open letter about “Montréal déclassé,” in which he mourned the city’s decline as a cultural capital. A prime target of his commentary was the city’s decision to spend federal infrastructure funds on sewers and hospitals – at a time when Toronto was using such money to spark a boom in cultural building projects. Montrealers were stung to realize their city was falling behind in what Le Devoir called “le combat des villes.”
That discontent fuelled the development of Quartier des Spectacles, an attempt by a consortium of arts groups and government agencies to redefine a one-square-kilometre area as the city’s artistic heart. In the past few years, that zone, which includes Place des Arts and numerous theatres, galleries and artists’ studios, has seen intense construction and renovation activity. L’adresse symphonique is part of that broad agenda of cultural renovation. Its glass front on Maisonneuve looks out over a grassy new amphitheatre across the street – one of two open-air spaces developed around Place des Arts for free performances.
The new hall is also the first cultural project built according to the province’s recent PPP rules for public works, whereby a private consortium builds and finances something to provincial specifications, runs and profits from the facility for a set time (in this case, 30 years), and then yields it to the province for a dollar. Before the government even solicited bids, it hired an acoustics firm, New York’s Artec Consultants, to set the parameters for a concert space that would have the resonance, intimacy and clarity of sound that Place des Arts’ 2,990-seat Salle Wilfrid-Pelletier has always lacked.
“It all started from a room we drew,” says Tateo Nakajima of Artec, which helped design the Chan Centre in Vancouver, the Jack Singer Concert Hall in Calgary, and Kitchener’s Centre in the Square. “Each bidder proposed something, and we decided whether we could make it work.”
That rule has also governed the detailed working out of Diamond’s winning proposal. “The acoustics drive the design,” says Diamond. “You have to mould the acoustical demands into an architectural expression that works as a room.”
For the OSM, better acoustics are the main prize, but not the only one. The orchestra has first pick of all performance dates at the new hall, so will be able to claim the Saturday nights that were difficult to get at Wilfrid-Pelletier. The OSM will also play all rehearsals on the stage, instead of in the varied and dissimilar rehearsal halls it now uses.
“You think of the Vienna Philharmonic and the Musikverein, or [Amsterdam's] Royal Concertgebouw Orchestra and the Concertgebouw, [where] the resident orchestra develops a real identity with its acoustic space,” says OSM music director Kent Nagano, an internationally eminent conductor whose arrival in Montreal in 2006 was seen as a coup for the orchestra. “That helps develop its overall identity. We've never had that luxury till now.”
The catch is that the OSM won’t be l’Adresse symphonique’s only resident orchestra. Between rehearsing, performing and hosting special concerts, it will take 240 days of the hall’s calendar next season, leaving 125 available for ensembles such as the L’Orchestre Métropolitain.
That orchestra’s home-grown music director, Yannick Nézet-Séguin, is riding a tidal wave of international renown to rival that of OSM’s Nagano, following appointments as music director of the Philadelphia Orchestra and the Rotterdam Philharmonic. Nézet-Séguin’s Montreal band devotes most of its calendar to concerts in churches and maisons de la culture in the suburbs, but is increasing its single-performance programs at Place des Arts next year, from seven to 11.
L’Orchestre symphonique de Montréal is actually decreasing its regular programs next season, from 30 at Wilfrid-Pelletier to 24 at the new hall. The OSM’s number of regular performances, however, will remain about the same, at 48. Since the orchestra is moving into a smaller container, it’s going to repeat programs more often.
Both orchestras have raised their ticket prices for seats in the new hall, but the OSM’s have gone up more, widening a price gap that had already existed. The best seats on the floor or front balcony cost $57 for an OM concert; at the OSM they’ll be $100.50.
“A lot of people have moved to us from the OSM” because of the price differential, says Luce Moreau, the Orchestre Métropolitain’s executive director. Ticket revenues for OM’s advance sales have jumped 62 per cent, and more than a fifth of subscribers are new. Moreau expects to add more concerts in the OM’s second season at the hall, and to increase programs to 15 by 2015.
Nagano certainly knows from experience that objects in the rear-view mirror can come up faster than you think. In 1996, as music director of Britain’s Hallé Orchestra, he gave the inaugural concert at Manchester’s Bridgewater Hall, built to replace a multipurpose hall of Victorian vintage. The Hallé hoped the Bridgewater would give its sagging fortunes a lift, but the main beneficiary was the venue’s “second orchestra,” the BBC Philharmonic, which rapidly expanded its programs and audience. “The Hallé has learned the hard way that a new concert hall attracts entrepreneurs,” wrote The Guardian’s David Ward, after the hall’s first year of operation.
Madeleine Careau, the OSM’s chief executive officer, points out that her orchestra’s ticket revenues are also growing: Subscription renewals are up 10 per cent over this time last year, and the first three inaugural concerts in September are already sold out. But, she says that bigger audiences for the city’s lesser classical ensembles are a good thing for the OSM. “My feeling is that one day those people will want to try Kent Nagano and the OSM,” she says.
Either way, Montrealers can look forward to a very different orchestral experience at Place des Arts. It used to be said that to really hear what the OSM could do, you had to follow it to Carnegie Hall. As of Sept. 7, if all goes as planned, the trip will be a lot shorter.
One Spectacular Quarter: Some Facts and Figures
Montreal’s downtown Quartier de Spectacles packs a lot of performance, display and art-making activity into a single square kilometre. Some numbers:
80 cultural spaces, including the Musée d’art contemporain, the Bon Pasteur Historic Chapel, the Galeries d’art contemporain du Belgo, and several new outdoor performance venues
28,000 seats in 30 salles de spectacles, including Théâtre du Nouveau-Monde, Le Monument-National and the theatres of the Université du Québec à Montréal and Place des Arts
80 per cent of the city’s entertainment facilities
450 cultural enterprises
7,000 cultural workers
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Publié le 06 janvier 2011 à 06h42 | Mis à jour le 06 janvier 2011 à 06h42
Vincent Brousseau-Pouliot
LA PRESSE
(Montréal) Outre la superproduction de 120 millions Blanche-Neige, Hollywood devrait tourner au moins cinq films à plus petit budget à Montréal cette année.
> Suivez Vincent Brousseau-Pouliot sur Twitter
The Age of Adeline, un film de 40 millions, devait mettre en vedette Katherine Heigl (Grey's Anatomy, The Ugly Truth), mais l'actrice a renoncé au projet. Une décision qui pourrait bien retarder le tournage de plusieurs mois, le temps que le studio trouve une actrice pour la remplacer.
L'acteur Aaron Eckhart (The Dark Knight, Thank You for Smoking) tournera The Expatriate, un film de 30 millions, en Belgique et à Montréal.
Deux autres films de 50 millions et de 25 millions (CBS) doivent aussi être tournés à la Cité du cinéma en 2011.
Finalement, quelques scènes du film L'histoire de Pi (Life of Pi), l'adaptation de la 20th Century Fox du livre de l'auteur canadien Yann Martel, seront tournées à Montréal.
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Chad Ochocinco was in Montreal for a couple days filming a cameo role for the Spike TV series “Blue Mountain State.” He’s in Kansas City now but had time to do an interview with Montreal’s The Team 990. Someone from the station sent us the link to the interview which can only be described in one word — painful.
Here’s one of the questions asked by the host (we are not joking) — Do you think Carson Palmer will be back with the Bengals and if not will you be moving into Andy Dalton’s apartment to get to know him?
Normal folks might have hung up the phone at that point, but we have to give Chad credit. Not only did he answer the question, but he gave what could be considered one of the truest statements he’s had this offseason.
Said Ochocinco after that question: “I have no idea, man. My mind ain’t even on football. They’re not thinking about us, I’m not thinking about them. What I do is train. Whenever it’s time to be back, I’ll be back. I’m not even thinking about football.”
Later in the interview, Ochocinco was asked if he would consider playing in the CFL or UFL if the lockout dragged out longer. — “I don’t know. That’s a good question. Depending on how long everything takes you know what I would be one to go ahead and do it just because.” Someone should have informed both parties that the CFL has an agreement with the NFL that it won’t go after players under contract.
http://cincinnati.com/blogs/bengals/2011/06/08/words-by-chad-montreal-edition/
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Award-winning director Ondi Timoner kicks off new documentary <3STARTUPS at the International Startup Festival in Montréal
LOS ANGELES AND MONTRÉAL, June 27, 2011 /CNW Telbec/ - Two years after We Live in Public (http://www.weliveinpublicthemovie.com)—a film that portrays our willingness to sacrifice our privacy in an online world—Ondi Timoner, Director at Interloper Films (http://interloperfilms.com), once again aims her camera at the Internet. This time, her focus is on Internet startups in an era of almost complete transparency. It's a film about big ideas and big data, from the first back of a napkin to the billionth user. But it's also about how those businesses can modify our behavior, convincing and coercing us to do their bidding through the power of public, social interactions.
The documentary will kick off filming at the International Startup Festival
(http://www.startupfestival.com) in Montréal, July 13 to 15, 2011, where hundreds of founders, investors, and successful entrepreneurs are gathering to tackle the business of launching new ventures.
The International Startup Festival is a two-day conference on the business of startups. It brings a global audience together to cover the entire startup lifecycle: early-stage innovation; scaling the business; and achieving a successful exit. Held in Montréal, it's a dynamic event of networking, learning, new ideas, and after-hours fun with a global vibe.
For more information: http://www.startupfestival.com/en/ondi-timoner-at-startup-festival.
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Filming in Montreal:
• The Words, with Bradley Cooper, is filming at Sainte-Catherine St W & Rue Mansfield, Montreal. (Thanks Shisha)
Update: They are setting up at this location this afternoon, this morning they were filming at Windsor Station.
Le Courant - 6, 6, 8 étages
dans Complétés
Posté(e)
http://www.condoslecourant.com/fr/
LAISSEZ-VOUS EMPORTER!
Devenez propriétaire pour moins que le prix d'un loyer typique à Montréal. 50% de la phase I déjà vendue.
Disponibles à partir de 129 900$ (taxes en sus), les condominiums Le Courant sont le choix par excellence pour des premiers acheteurs et pour
ceux qui souhaitent être au cœur de l'action.
Situé près du pont Jacques-Cartier, Le Courant bénéficie d'un emplacement idéal : la ville est littéralement à votre porte! Les condos Le Courant vous offrent un accès rapide aux universités, au centre-ville et aux accès routiers à la Rive-Sud.
Si vous recherchez un emplacement au cœur de l'action à prix imbattable, vous avez enfin trouvé : faites des condos Le Courant votre nouveau chez-soi.
À PROPOS DU PROJET
Le Courant compte trois phases, comprenant chacune 6 étages et 78 condos (lofts, 1 et 2 chambres) lumineux et aménagés avec goût.
Un design intérieur élégant et une sélection de matériaux de première qualité vous garantissent un chez-soi actuel pour des années à venir.
Nos cuisines au style moderne comptent des armoires luxueuses en thermoplastique, des comptoirs de quartz, un dosseret en mosaïque, un évier carré au design contemporain et un robinet style restaurant.
Au cœur de la salle de bain se trouve une douche à panneaux de verre coulissants avec jets corporels et pomme de douche style pluie. Une vanité flottante et une pharmacie à miroir viennent compléter l'aménagement intérieur de grand style.
La terrasse sur le toit vous offre une vue spectaculaire du pont Jacques-Cartier et de La Ronde, vous assurant d'être aux premières loges lors des feux d'artifices. C'est également l'endroit idéal pour profiter du soleil ou encore, recevoir vos proches.