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Found 28 results

  1. Je vais déménager à Manhattan au mois d'Août. Je garde un pied-à-terre à Vancouver et reviens fréquemment à Montréal. Je viens de voir cette nouvelle toute fraiche. Je vais habiter tout juste à côté de Washington Square, et ce nouveau développement m'intéresse au plus haut point. J'esssaierai de vous en faire part régulièrement. Voici l'article du Wall Street Journal: First Look at NYU Tower Plan University Wants 38-Story Building on Village Site; Critics Fret Over Pei Design By CRAIG KARMIN New York University on Thursday expects to unveil its much-anticipated design plans for the proposed 38-story tower in Greenwich Village, one of the most ambitious projects in the school's controversial 25-year expansion plan. Before and after: The space between two towers designed by I.M. Pei, above, would be filled by a new tower, in rendering below, under NYU's plan. The tower, sight-unseen, is already facing backlash from community groups who say the building would interfere with the original three-tower design by famed architect I.M. Pei. Critics also say the new building would flood the neighborhood with more construction and cause other disruptions. The concrete fourth tower with floor-to-ceiling glass windows would be built on the Bleecker Street side of the site, known as University Village. It would house a moderate-priced hotel on the bottom 15 floors. The 240-room hotel would be intended for visiting professors and other NYU guests, but would also be available to the public. The top floors would be housing for school faculty. In addition, NYU would move the Jerome S. Coles Sports Center farther east toward Mercer Street to clear space for a broader walkway through the site that connects Bleecker and Houston streets. The sports complex would be torn down and rebuilt with a new design. Grimshaw Architects The plan also calls for replacing a grocery store that is currently in the northwest corner of the site with a playground. As a result, the site would gain 8,000 square feet of public space under the tower proposal, according to an NYU spokesman. NYU considers the new tower a crucial component of its ambitious expansion plans to add six million square feet to the campus by 2031—including proposed sites in Brooklyn, Governors Island and possibly the World Trade Center site—in an effort to increase its current student population of about 40,000 by 5,500. The tower is also one of the most contentious parts of the plan because the University Village site received landmark status in 2008 and is home to a Pablo Picasso statue. The three existing towers, including one dedicated to affordable public housing, were designed by Mr. Pei in the 1960s. The 30-story cast-concrete structures are considered a classic example of modernism. Grimshaw Architects, the New York firm that designed the proposed tower, says it wants the new structure to complement Mr. Pei's work. "It would be built with a sensitivity to the existing buildings," says Mark Husser, a Grimshaw partner. "It is meant to relate to the towers but also be contemporary." Grimshaw Architects NYU says the planned building, at center of rendering above, would relate to current towers. He said the new tower would use similar materials to the Pei structures and would be positioned at the site in a way not to cut off views from the existing buildings. Little of this news is likely to pacify local opposition. "A fourth tower would utterly change Pei's design," says Andrew Berman, executive director of the Greenwich Village Society for Historic Preservation. He says that Mr. Pei designed a number of plans about the same time that similarly featured three towers around open space, such as the Society Hill Towers in Philadelphia. Watch a video showing a rendering of New York University's proposed 38-story tower, one of the most ambitious projects in the university's vast 2031 expansion plan. The tower would be located near Bleecker Street in Manhattan. Video courtesy of Grimshaw Architects. Residents say they fear that the new tower would bring years of construction and reduce green spaces and trees. "We are oversaturated with NYU buildings," says Sylvia Rackow, who lives in the tower for public housing. "They have a lot of other options, like in the financial district, but they are just greedy." NYU will have to win permission from the city's Landmark Commission before it can proceed. This process begins on Monday when NYU makes a preliminary presentation to the local community board. Jason Andrew for the Wall Street Journal NYU is 'just greedy,' says Sylvia Rackow, seen in her apartment. Grimshaw. While the commission typically designates a particular district or building, University Village is unusual in that it granted landmark status to a site and the surrounding landscaping, making it harder to predict how the commission may respond. NYU also would need to get commercial zoning approval to build a hotel in an area designated as residential. And the university would have to get approval to purchase small strips of land on the site from the city. If the university is tripped up in getting required approvals, it has a backup plan to build a tower on the site currently occupied by a grocery store at Bleecker and LaGuardia, which would have a size similar to the proposed tower of 270,000 square feet. http://online.wsj.com/article/SB10001424052748704198004575311161334409470.html?mod=WSJ_hpp_MIDDLENexttoWhatsNewsForth
  2. The American Institute of Architects recently turned 150 and to celebrate they decided to put together a list of 150 favorite American buildings (do they know how to party or what?). Click forward to see which buildings made the top ten (you can see if any of your other personal favorites made the list here: http://www.favoritearchitecture.org/afa150.php
  3. City planners take new look at urban vistas Frances Bula, Special to the Globe and Mail, March 30th, 2009 --------------------- Vancouver’s famous view corridors have prompted more anguished howls from architects than almost anything else I can think of over the years. Now, the city is looking at re-examining them. (And, as the sharp-eyed people at skyscraper.com have noted, the posting for people to run the public consultation went up on city website Friday. You can see their comments on the whole debate here.) You can get a flavour of the arguments from my story in the Globe today, which I’ve reproduced below. --------------------- Vancouver is legendary as a city that has fought to prevent buildings from intruding on its spectacular mountain backdrop and ocean setting. Unlike Calgary, which lost its chance to preserve views of the Rockies 25 years ago, or Toronto, which has allowed a highway plus a wall of condo towers to go up between the city and its lake, Vancouver set an aggressive policy almost two decades ago to protect more than two dozen designated view corridors. But now the city is entertaining re-examining that controversial policy, one that has its fierce defenders and its equally fierce critics, especially the architects who have had to slice off or squish parts of buildings to make them fit around the corridors. And the city’s head planner is signalling that he’s definitely open to change. “I’ve got a serious appetite for shifting those view corridors,” says Brent Toderian, a former Calgary planner hired two years ago, who has been working hard to set new directions in a city famous for its urban planning. “The view corridors have been one of the most monumental city-shaping tools in Vancouver’s history but they need to be looked at again. We have a mountain line and we have a building line where that line is inherently subjective.” The issue isn’t just about preserving views versus giving architects free rein. Vancouver has used height and density bonuses to developers with increasing frequency in return for all kinds of community benefits, including daycares, parks, theatres and social housing. A height limit means less to trade for those amenities. Mr. Toderian, who thinks the city also needs to establish some new view corridors along with adjusting or eliminating others, says a public hearing on the issue won’t happen until the fall, but he is already kicking off the discussion quietly in the hope that it will turn into a wide-ranging debate. “The input for the last few years has been one-sided, from the people who think the view corridors should be abolished,” he said. “But we’re looking forward to hearing what everyone thinks. Most people who would support them don’t even think about them. They think the views we have are by accident.” The view-corridor policy, formally adopted in 1989, was the result of public complaints over some tall buildings going up, including Harbour Centre, which is now, with its tower and revolving restaurant, seen as a defining part of the Vancouver skyline. But then, it helped spur a public consultation process and policy development that many say confused the goal of preserving views with a mathematical set of rules that often didn’t make sense. One of those critics is prominent architect Richard Henriquez, who said the corridors don’t protect the views that people have consistently said they value most from the city’s many beaches and along streets that terminate at the water. Instead, he says many of the view corridors are arbitrarily chosen points that preserve a shard of view for commuters coming into town. That has resulted in the city losing billions of dollars of potential development “for someone driving along so they can get a glimpse of something for a second.” And, Mr. Henriquez argues, city residents have a wealth of exposure to the city’s mountains throughout the region. “Downtown Vancouver is a speck of urbanity in a sea of views,” said Mr. Henriquez, who is feeling the problem acutely these days while he works on a development project downtown where the owners are trying to preserve a historic residential hotel, the Murray, while building an economically feasible tower on the smaller piece of land next to it. The view corridor means the building has to be shorter and broader and is potentially undoable. His project is one in a long list of projects that have been abandoned or altered because of view corridor rules in Vancouver. The Shangri-La Hotel, currently the tallest building in the city at 650 feet, is sliced diagonally along one side to prevent it from straying into the view corridor. At the Woodward’s project, which redeveloped the city’s historic department store, one tower had to be shortened and the other raised to fit the corridor. And architect Bing Thom’s plan for a crystal spire on top of a development next to the Hotel Georgia was eventually dropped because city officials refused to budge on allowing the needle-like top to protrude. But one person wary about the city tinkering with the policy is former city councillor Gordon Price. “When people talk about revisiting, it just means one thing: eroding,” said Mr. Price, still a vocal advocate on urban issues. “People may only get this fragment of a view but it’s very precious. And those fragments will become scarcer as the city grows. The longer they remain intact, the more valuable they become.” It’s a debate that’s unique to Vancouver. Mr. Toderian said that when he was in Calgary, there was no discussion about trying to preserve views from the downtown to the Rockies in the distance. --------------------- cet article n'est pas tres recent, mais je sais pas s'il avait deja ete poste sur ce forum. meme s'il y a des differences, a mon avis beaucoup de ces arguments pourraient s'appliquer aussi pour Montreal. est-ce qu'on devra attendre une autre vague de demande bousillee pour relancer le debat ?
  4. On vient de me recommander ce livre; sûrement qu'il y en aura ici qui seront intéressés... The Endless City At the turn of the twenty-first century, the world is faced with an unprecedented challenge. It must address a fundamental shift in the world’s population towards the cities, and away from mankind’s rural roots.Over the course of two years, a group of internationally renowned professionals from a variety of different disciplines and backgrounds gathered together in six world cities to take stock of the new urban condition and to offer an approach to dealing with it. The Urban Age conferences – organised by the London School of Economics and Political Science and Deutsche Bank’s Alfred Herrhausen Society – centred on six very different cities. In Shanghai and Mexico City, the urban population is experiencing rapid growth and change,while Berlin is coming to terms with shrinking expectations.The result was a sometimes passionate, always challenging and informed debate on how architects, urbanists, politicians and policy makers can constructively plan the infrastructure and development of the endless city, to promote a better social and economic life for its citizens. 34 contributors from across Europe, South America, China, Africa and the U.S. set the agenda for the city – detailing its successes as well as its failures. Authoritatively edited by Ricky Burdett and Deyan Sudjic, The Endless City presents the outcome of this pioneering initiative on the future of cities. It has a follow-up volume called Living in the Endless City (2011). http://lsecities.net/publications/books/the-endless-city/
  5. http://www.smart-magazine.com/en/jan-gehl-architect-interview/ Jan_Gehl_Portrait The city whisperer Portrait 3 minutes read - Oliver Herwig on November 3rd, 2015 Jan Gehl champions something that few architects have mastered: cities for people. The Dane favors compact neighborhoods over grand master plans. The 79-year-old city planner values the wishes of residents over architecture. And his resounding success proves him right. Ssssshhhhhrrrrr. In the background, a cordless screwdriver buzzes away. Jan Gehl apologizes for the distraction; “Excuse me, they’re doing some work in the kitchen.” Life is quite busy for the professor emeritus and city planner. As a city planner, Gehl‘s detail orientation and screw-tightening skills come in handy wherever mayors or councilors realize that something needs to change. Over the past few years, they have been beating a path to his door: Gehl is considered a top global expert on humane cities. “I’m an idealist,” states the 79-year-old. “And the projects I’m working on are all about creating better environments for pedestrians and public life.” To Gehl, both of these are intrinsically linked – people should be able to experience their city on foot. He goes on to scoff that we know more about the perfect habitat for Siberian tigers than a good environment for people. His wife Ingrid and he started out studying life in the cities – and then traveled to Italy on a grant in 1965. In 1971, “Livet mellem husene,” life between buildings, was the first result of their studies between streets and squares – and turned out to be quite a flop. Yet Gehl labored on and continued to hone and develop his methods over the years, by then a professor at the Royal Danish Academy of Arts. Jan Gehl Brighton “My projects are all about creating better environments for pedestrians”. Photo: Gehl Architects Gehl’s foremost success is Copenhagen Today, his successes prove him right. And the standout example is Copenhagen – the city of Gehl’s alma mater, teaching career, and a company he co-founded. In a way, it serves as an open-air lab for his ideas: All the way back in 1965, the city – advised by Gehl – created Europe’s longest pedestrian zone, the Strøget. Copenhagen has become a template for the fundamental shift from post war car-centric cities to more pedestrian-friendly 21st century metropolises. “In order to reclaim a human dimension, city planners need to re-evaluate the many capacity-friendly ideas,” he states in the recently released “Cities for People”. This means: Our cities are filled with too many traffic lights, narrow sidewalks, and multi-lane highways that squeeze in pedestrians and force them to cross streets in a rush. According to Gehl, that’s not a given: “There is a good, pedestrian-friendly solution for any traffic planning issue.” And he adds that “it is high time to revisit our priorities.” To this end, Gehl has introduced a check list of small changes that – taken together – produce great results. He favors “polite reminders” (as in Copenhagen) over flashing traffic lights that “encourage hasty crossings” (as in New York City). Gloomy pedestrian underpasses (like the one near Zurich’s train station) should be replaced by sunlit “zebra crossings at street level.” Copenhagen stroget Jan Gehl Advised by Gehl, Copenhagen installed Europe’s longest pedestrian zone, the Strøget. Photo: Yadid Levy / Getty Images From New York City to Shanghai: a globally sought-after urban consultant Gehl knows cities better than most. Paraphrasing a well-known analogy, some people are good with horses and become horse whisperers, while others are good with people. The latter usually become doctors, nurses, or priests. As a city planner, Jan Gehl is a little bit of all. First and foremost, however, he is a self-professed “missionary.” He preaches human scale development and has been consulting for cities around the world for years, helping them to redesign entire neighborhoods to benefit their residents. The formula is simple: go to the city, observe, and listen. And then join together to effect change. A fun video on his website tells the story behind it all. It took the love of developmental psychologist Ingrid to open the builder’s eyes: Architecture should serve people. In this spirit, Jan Gehl draws on insights by sociologists and psychologists to turn ivory tower planning into bona fide collaborations. The Herald Square before Jan Gehl The Herald Square in New York City before … Photo: DOT The Herald Square after Jan Gehl … and after Gehl Architects. Photo: DOT Gehl’s top priority: the human scale His drive really picked up in 2000 when Gehl and Helle Søholt, a former student, joined forces to found the company Gehl Architects. Maybe, it’s all just a question of scale. Modernism delighted in completely redesigning metropolises or conjuring up abstract plans on the drawing board. Builders like Le Corbusier, who considered rented dwellings “housing units” or “living machines,” liked to subdivide cities by function. This is a kind of thinking Gehl would like to leave behind. The architect is less interested in models and buildings than in their residents. Over the years, Gehl came up with a range of basic principles that support and define thriving communities around the world. One of these rules might be not to build skyscrapers since six or more levels up residents lose touch with the street and feel removed from it all. Or: consider the ground floor. It shouldn’t be uniform or forbidding, but varied and full of surprises. MarDelPlata Jan Gehl Gehl’s formula is simple: … Photo: Municipality of Mar del Plata Mar Del Plata Jan Gehl … go to the city, observe, and listen. Photo: Municipality of Mar del Plata “Better city spaces, more city life“ Nowadays, Gehl provides coaching for cities like New York City, Shanghai, Singapore, St. Petersburg, or Almaty. And his insights sound so simple, matter of fact, and even trivial that it can be hard to fathom how our modern cities, divided by functions, could ever have forgotten these wisdoms. “Better city spaces, more city life,” one of his premises states. High quality spaces encourage leisure activities and interactions. “It’s so obvious, we have simply overlooked it.” P.S. The interview was conducted over an old telephone on the fifth floor of a building in the center of Munich. Sao Paulo Jan Gehl “Better city spaces, more city life.“ Phpto: Luis E. S. Brettas Header image: Sandra Henningsson / Rights Gehl Architects sent via Tapatalk
  6. http://www.theguardian.com/artanddesign/architecture-design-blog/2013/dec/30/ten-new-years-resolutions-for-architects-2014 Ten new year's resolutions for architects in 2014 Remember that buildings shouldn't burn things, windows should let in light and copying others is fine – but just try not to annoy the skateboarders <figure class="element element-image" data-media-id="gu-fc-101b839c-7d6d-4e7a-b448-a5fd5be930f4" style="padding: 0px; margin: 0px 0px 10px; border-collapse: collapse; background-repeat: no-repeat no-repeat;"><figcaption style="padding: 0px; margin: 0px 0px 10px; border-collapse: collapse; font-size: 0.858em; line-height: 1.25; color: rgb(102, 102, 102); background-repeat: no-repeat no-repeat;">I shall not burn … the Walkie-Scorchie 'fryscraper' melted car parts and singed shop windows. Photograph: Leon Neal/AFP/Getty Images</figcaption></figure> Don't melt things It might sound obvious, but it's usually good if your buildings don't actively attack their neighbours or melt passing vehicles with laser death rays. It is a lesson that has evaded Rafael Viñoly, purveyor of “fryscrapers” to London and Las Vegas, who seemingly can't resist channelling the powers of the sun into beams capable of singeing sun-loungers and scorching Jaguars. This year, if you find yourself designing a south-facing concave facade in a highly reflective material, maybe best think again. Or at least don't let “value engineers” remove the sunshades. Be nice to old buildings <figure class="element element-image" data-media-id="gu-fc-21cdf4b3-61b7-4565-b340-7c733eae853a" style="padding: 0px; margin: 0px 0px 10px; border-collapse: collapse; background-repeat: no-repeat no-repeat;"><figcaption style="padding: 0px; margin: 0px 0px 10px; border-collapse: collapse; font-size: 0.858em; line-height: 1.25; color: rgb(102, 102, 102); background-repeat: no-repeat no-repeat;">Parametric hat … Zaha Hadid's Serpentine Sackler Gallery. Photograph: Martin Godwin</figcaption></figure>They were there before you, and the chances are they're better made and more beautiful than anything you will be able to replace them with, so treat listed buildings nicely. Try to resist the urge to use them as ahatstand for your latest undulating parametric headpiece. Nor is it probably a good idea to rip off the back and use the front as a picturesque mask to distract people from your monstrous shed looming behind. If in doubt, the Stirling Prize-winning Astley Castle has some pointers. Don't stand for modern-day slavery <figure class="element element-video" data-canonical-url="http://www.theguardian.com/world/video/2013/dec/22/abu-dhabi-migrant-workers-video" data-show-ads="true" data-video-id="2011826" data-video-name="The dark side of Abu Dhabi's cultural revolution – video" data-video-provider="guardian.co.uk" data-video-poster="http://static.guim.co.uk/sys-images/Guardian/Pix/audio/video/2013/12/11/1386776622909/Saadiyat-island-off-the-c-001.jpg" style="padding: 0px; margin: 0px 0px 10px; border-collapse: collapse; background-repeat: no-repeat no-repeat;"> <figcaption style="padding: 0px; margin: 0px 0px 10px; border-collapse: collapse; font-size: 0.858em; line-height: 1.25; color: rgb(102, 102, 102); background-repeat: no-repeat no-repeat;">'Happiness Island' … Saadiyat in Abu Dhabi, home to iconic buildings by Frank Gehry, Jean Nouvel and Norman Foster.</figcaption></figure>OK, it might be hard to turn it down when the Louvre asks you to build agigantic upturned colander on Abu Dhabi's pleasure island, or when Sheikh Zayed phones up asking for a museum in the shape of his prize falcon's wings. We all want our icons in the desert, but let's face it, your construction workers will probably do a better job if they're not living in squalor, 10 men to a room, trapped in labour camps with their passports confiscated, working for a year just to pay back their recruitment fees. Be nice to skateboarders <figure class="element element-image" data-media-id="gu-fc-761d4c25-c7fd-4114-b65a-e9ecf0a991e9" style="padding: 0px; margin: 0px 0px 10px; border-collapse: collapse; background-repeat: no-repeat no-repeat;"><figcaption style="padding: 0px; margin: 0px 0px 10px; border-collapse: collapse; font-size: 0.858em; line-height: 1.25; color: rgb(102, 102, 102); background-repeat: no-repeat no-repeat;">South Bank skaters … as precious as bats and great crested newts when it comes to planning applications. Photograph: Oli Scarff/Getty Images</figcaption></figure>They might seem like an unsightly addition to your prize-winning public space, with their low-slung jeans and strangely oversized trainers, but, just like bats and great crested newts, skateboarders hold a lot of sway when it comes to planning applications. So treat them with respect. It's probably not a good idea to turn their hallowed Mecca into a themed retail experience, nor to rub salt in the wound by commissioning ageing has-beens to design an “as-found skate space” down the road. You'll be in for a long, tough ride if you do. Don't be ashamed of copying <figure class="element element-image" data-media-id="gu-fc-f8a5308f-2b7c-4aad-ab10-498e7e572fc9" style="padding: 0px; margin: 0px 0px 10px; border-collapse: collapse; background-repeat: no-repeat no-repeat;"><figcaption style="padding: 0px; margin: 0px 0px 10px; border-collapse: collapse; font-size: 0.858em; line-height: 1.25; color: rgb(102, 102, 102); background-repeat: no-repeat no-repeat;">Look familiar? … A copy of Zaha Hadid's Wangjing Soho building, under construction in Chongqing. Photograph: STR/AFP/Getty Images</figcaption></figure>It's nice to imagine that every one of your designs is a genius idea channelled from the heavens, forged by a single hand in the white heat of the workshop, but that's not really how the design process works. The history of architecture and design is a history of copying, sampling and remixing, so why not celebrate the fact? After all, imitation is the sincerest form of flattery, as the Chinese continue to demonstrate, so go ahead and build an homage to your favourite architect – and make it a bit bigger than the original while you're at it. Design windows that let in light and views <figure class="element element-image" data-media-id="gu-fc-d62c73a6-5ef4-4692-93f5-b4a18604dc5c" style="padding: 0px; margin: 0px 0px 10px; border-collapse: collapse; background-repeat: no-repeat no-repeat;"><figcaption style="padding: 0px; margin: 0px 0px 10px; border-collapse: collapse; font-size: 0.858em; line-height: 1.25; color: rgb(102, 102, 102); background-repeat: no-repeat no-repeat;">Shadow gap … UCL's New Hall housing, 465 Caledonian Road, was declared the worst building of 2013. Photograph: Ellis Woodman/BD</figcaption></figure>A window, according to the OED, is a device used “to admit light or air and allow people to see out”. It is a definition best remembered when designing openings in buildings, but one that little concerned the architects of UCL's latest student accommodation block. The Carbuncle Cup-winning hulk on Pentonville Road houses cramped cell-like rooms that look directly out on to the blank brick wall of a retained Victorian facade, only one metre away. No matter – the planning inspector ruled the conditions were “unlikely to be perceived as overly oppressive by the occupiers”. They're only students after all. Bring fleeting joy <figure class="element element-image" data-media-id="gu-fc-fb2bf44f-2f01-4e4c-a55e-aea58288bb3a" style="padding: 0px; margin: 0px 0px 10px; border-collapse: collapse; background-repeat: no-repeat no-repeat;"><figcaption style="padding: 0px; margin: 0px 0px 10px; border-collapse: collapse; font-size: 0.858em; line-height: 1.25; color: rgb(102, 102, 102); background-repeat: no-repeat no-repeat;">Half packing crate, half temple … The Shed at the National Theatre. Photograph: Helene Binet</figcaption></figure>You might want your every creation to last forever, but some of the best things are good precisely because they disappear. The Shed at the National Theatre proved to be one such joyful fleeting visitor to the South Bank last summer, looking as if Lasdun's concrete fly-tower had leapt down and daubed itself with red face-paint to join the riverside fun. A simple timber box, it showed how the rambling concrete terraces of the Southbank Centre can be enlivened with nimble intervention – proving they don't really need to be smothered with giant glass containers of shops and restaurants. Don't ruin views <figure class="element element-image" data-media-id="gu-fc-d41d6d76-28ee-4a9f-b72e-a9fd3e90479d" style="padding: 0px; margin: 0px 0px 10px; border-collapse: collapse; background-repeat: no-repeat no-repeat;"><figcaption style="padding: 0px; margin: 0px 0px 10px; border-collapse: collapse; font-size: 0.858em; line-height: 1.25; color: rgb(102, 102, 102); background-repeat: no-repeat no-repeat;">'Like building a skyscraper next to Stonehenge … Port Meadow before and after. Photograph: Save Port Meadow</figcaption></figure>This year, when presented with an idyllic pastoral site on the edge of a rolling expanse of millennium-old common land, fringed by the prospect of dreaming spires poking above the treetops, you might want to think twice before plonking an army of inflated toy-town houses down in the middle of it all. Such has been the effect of Oxford's new Castle Mill student housing development on the edge of Port Meadow, a group of bulky blocks that despoil the landscape and block the long-cherished view, in a move slammed by critics as like “building a skyscraper next to Stonehenge”. Kill-off your practice before it kills you <figure class="element element-image" data-media-id="gu-fc-b17cb976-9f90-4f4a-bf3b-e3ef9db79ebb" style="padding: 0px; margin: 0px 0px 10px; border-collapse: collapse; background-repeat: no-repeat no-repeat;"><figcaption style="padding: 0px; margin: 0px 0px 10px; border-collapse: collapse; font-size: 0.858em; line-height: 1.25; color: rgb(102, 102, 102); background-repeat: no-repeat no-repeat;">Die young … the Heerlijkheid Hoogvliet in Rotterdam, by FAT. Photograph: Maarten Laupman/FAT</figcaption></figure>Running out of work, on the brink of financial collapse and always coming runner-up in competitions? Why risk fading into obscurity and beckoning forth the debt-collectors, when you can go out with a stylish bang and break up your practice instead, boy-band style? A premature death guarantees teary-eyed obituaries, friendly missives from long-standing rivals and nostalgic reviews of your final projects. So bite the bullet before it bites you and go out early with a kamikaze boom. Design more yonic buildings <figure class="element element-image" data-media-id="gu-fc-a1fbdae8-1bf1-4086-8e2e-39e9d3ff72f3" style="padding: 0px; margin: 0px 0px 10px; border-collapse: collapse; background-repeat: no-repeat no-repeat;"><figcaption style="padding: 0px; margin: 0px 0px 10px; border-collapse: collapse; font-size: 0.858em; line-height: 1.25; color: rgb(102, 102, 102); background-repeat: no-repeat no-repeat;">Yonic wonder … the Al Wakrah Stadium in Qatar, by Zaha Hadid and AECOM. Image: AECOM</figcaption></figure>Architecture has always been a male-dominated profession, inevitably leading to a propensity for priapic forms. Our city skylines are brimming with teetering towers of phallic ambition, endlessly choked with competing monuments to the male member. But now Zaha Hadid has shown there can be another way. Her proposal for the Al-Wakrah World Cup stadium erupts from the Qatari desert in a great vulvic bulge, its roof framed by dynamic labial sweeps, in a magnificent demonstration that the vagina can be an equally noble form for a building – and ushering in 2014 as the year of the yonic.
  7. http://www.ecologieurbaine.net/2012-10-18-udem-jan-gehl Conférence-midi - UdeM | Jan Gehl : Pour des villes à échelle humaine Ajouter à mon horaire 18 octobre 2012, 12h00 - 13h30 CONFÉRENCE-MIDI de 45 minutes en anglais. La présentation sera suivie d'une brève période d'échange avec le public et d'une séance de signatures. INSCRIPTION fortement conseillée Places limitées - Entrée libre Inscrivez-vous dès maintenant ici, ou à partir du bouton au bas de cette page UNE CO-ORGANISATION du Centre d'écologie urbaine de Montréal avec Université de Montréal Amphithéâtre Hydro-Québec (local 1120) Faculté de l’aménagement 2940, ch. de la Côte-Sainte-Catherine Montréal QC Métro Université-de-Montréal Itinéraire Google Maps Conférence-midi Cette conférence résumera la vision et les propositions de Jan Gehl pour des villes à échelle humaine. Jan Gehl est de passage à Montréal pour le lancement de l'édition française de son livre Cities for people publié par les Éditions Écosociété, en collaboration avec le Centre d'écologie urbaine de Montréal, l'Ordre des urbanistes du Québec et Mission Design. Pour des villes à échelle humaine, qui est le fruit de 50 années de travail de cet important penseur et praticien de l’urbanisme, est appelé à devenir un outil indispensable pour construire les « écocités » de demain. M. Jan Gehl Professeur émérite de design urbain de l’Académie royale des beaux-arts du Danemark et membre honoraire de plusieurs organisations, dont l’Institut royal d’architecture du Canada. Fondateur et associé de Gehl Architects, il a travaillé au réaménagement de villes comme Copenhague, Londres, Amman, Melbourne, New York, Seattle et San Francisco. Architecte MAA et FRIBA, M. Gehl a reçu le prix Sir Patrick Abercrombie pour ses contributions exemplaires à l’aménagement des villes de la part de l’Union internationale des architectes ainsi qu’un doctorat honorifique de l’Université Heriot-Watt à Edimbourg. Jan Gehl a obtenu un post-doctorat international honorifique de la part du Royal Institute of British Architects (Int. FRIBA) en 2006 ainsi que de l’American Institute of Architecture et d’Architecture Canada en 2008. Jan Gehl est l'auteur de plusieurs livres incluant Life between Buildings, Public Spaces, Public Life, et Cities for People. Pour des villes à échelle humaine est le premier livre à être traduit en français. S'enregistrer maintenant
  8. Bonjour à tous, La compilation des projets sur les forums skyscrapercity et skyscraperpage n'a pas été mise à jour depuis longtemps et de part ça qualité, n'est pas très digne de Montréal! (c'est moi qui l'est faite en plus...) J'ai fait plusieurs recherches sur tous le projets, afin de compléter quelques renseignements et ainsi faire une nouvelle compilation. Je suis pourri en anglais, donc ne vous gêner pas pour me corriger. Je veux vos commentaires, afin de finaliser le fil et le mettre sur les deux autres forums. Merci bien! Gilbert P.S. Au risque de me répéter, le premier qui, après avoir vu ce fil, dira encore que Montréal stagne et ne bouge pas aura affaire à moi... ------------------------------------------------------ Updated compilation – by Gilbert (mtlurb.com) Under construction Hilton Garden Inn Expected Occupancy: 2008 Developer: Groupe Canvar Architect: Geiger Huot Architectes Floors: 37 fl Designation: 200-room hotel (first 13 fl), residential Louis Bohème Expected Occupancy: 2009 Developer: SacresaCanada, Iber Management Architect: Menkès, Shooner, Dagenais, Letourneux Height : 85m Floors: 28 fl Designation: Residential Crystal de la Montagne Expected Occupancy: 2008 Developer: Le Crystal de la Montagne / S.E.N.C. Architect: BLT Architectes Floors: 27 fl Designation: 131 suites, 59 luxurious condominium residences Le Vistal 1 & 2 Expected Occupancy: 2008 - 2009 Developer: Groupe Proment Designation : Residential Floors: 2*28 fl Designation: Residential Westin Montreal Expected Occupancy: 2008 Developer: Atlific Architect: Geiger Huot Architectes Floors: 20 fl Designation: 432 deluxe rooms and suites Quebecor Head Office Expansion Expected Occupancy: 2008 Developer: Québécor Architect: Cardinal Hardy / Arcop Floors: 19 fl Designation: Office space Université de Sherbrooke Expected Occupancy: 2009 City : Longueuil Developer: Université de Sherbrooke Floors: 17 fl Designation: University building Boisé Notre-Dame Expected Occupancy: 2008 City : Laval Developer: Groupe Joyal Floors: 3*17 fl Designation: Residential Îlot Voyageur Expected Occupancy: 2009 Developer: UQAM Floors: 2*9 fl / 16 fl Designation: University building and a new bus terminal Villa Latella - Mont-Carmel Expected Occupancy: 2008 Developer: San Carlo Construction Inc. Floors: 15 fl Designation: Residential John Molson School of Business Building Expected Occupancy: 2009 Developer: Concordia University Architects: KPMB Architects – FSA Architectes Floors: 15 fl Designation: University building Sir George Simpson Expected Occupancy: 2009 Developer: Groupe Lépine Architects: DCYSA Floors: 13 fl Designation: Residential LUX Résidences Gouverneur Expected Occupancy: 2009 Developer: Gouverneur Residences Architects: DCYSA Floors: 4*12 fl Designation: Residential Lowney 3 Expected Occupancy: 2008 Developer: Groupe Prével Architects: DCYSA Floors: 10 fl Designation: Residential 333 Sherbrooke Est Expected Occupancy: 2008 Developer: Homburg Invest Inc. Architects: Cardinal Hardy et Associés Floors: 2*10 fl Designation: Residential Stade Saputo Team : Impact de Montréal Expected Occupancy: 2008 Developer: Groupe Saputo Architect: Zinno Zappitelli Architectes Number of seats: 13,000 seats, expandable to 17,000
  9. http://westislandgazette.com/bluenotes/23052 Blue Notes Thursday, May 26, 2011 When did the decline of Montreal really start? posted by BOFarrell at 7h15 I spent some of my early childhood in the beaches area of Toronto. My father was in the marine insurance business. He, like many of his colleagues, would have to go up to Montreal once a month to meet with "head office." That was when Montreal was the largest inland ocean port in the world. That was when Montreal was in charge of the country. He used to bring me back Tintin books in French, thinking that it was a way to inculcate me with culture. Luckily, there were pictures. But I did learn the phrase: "Tonnerre de Brest." I am still waiting for an opportunity to use it in conversation. Captain Haddock was my favourite character. He was crusty and drank too much. Even then I had an inkling of my own future. Those of us who can see clearly know full well the impact of Quebec nationalism and the subsequent language laws on the decline of Montreal. Those of us not protected from reality by the spin of the Quebec political class. But is it not probable that Montreal's economic decline began even before that, with the opening of the St. Lawrence Seaway in 1959? That was when trans-oceanic shipping no longer had to stop here. And trade could bypass Montreal and go directly into the great lakes. That was when the ascendancy of Toronto began in earnest. I wonder if the architects of the seaway foresaw the coming political crises in Quebec. If they understood that Montreal would end up being on the wrong side of the Quebec border and, therefore, they had to make a preemptive strike. The seaway had a large effect on the ecology of the great lakes. Ocean-going vessels brought various species into the water that had never been there before, Zebra mussels to name one. These consequences are well documented in books. But there is not much to be found on the political motives of the major players in this engineering feat, which was built between 1954 and 1959 as a federal government project by Louis St. Laurent's Liberal government. Most of the literature I could find only talks about the politics between Canada and the U.S., the rocky road to how it eventually became a bilateral project. Because it happened before the rise of Quebec nationalism, there is no discussion about that as a motive for its creation. But in retrospect it has had so many detrimental effects to the economy of Montreal that one would figure that some of its more astute architects must have foreseen them. Before it ships had to be unloaded in Montreal and the goods put on trains. Wheat and other commodities were trained from the interior to Montreal and put on ships here. That diminished after the seaway. And the national railroads that once had their head offices here have moved out. So was there a "Bay Street conspircy" of some kind? Montreal did experience its zenith in the late '60s, when it hosted Expo 67. But perhaps this is what sociologists call a "sunset effect" - just before a society is about to collapse, it goes through a colourful cultural explosion. Right after that Montreal began to lose its position as the economic metropolis of Canada. And ever since, it seems that it has been losing out to Toronto. Rick Blue is a resident of Beaconsfield and is half of the musical comedy duo of Bowser and Blue.
  10. Completed Vancouver Convention Centre West goes for Leed Gold certification Vancouver's waterfront has a spectacular new addition in the completion of Vancouver Convention Centre West, the city's latest flagship eco-development which triples the total square footage and functional capacity of the Centre and completes the development of the public realm. With 6 acres of green roof it boasts the largest in Canada, and the largest non-industrial green roof in North America. This combined with many other eco-measures is set to help the project achieve LEED Canada Gold certification. The project consists of 1.2 million sq ft divided into exhibition space, meeting rooms, 90,000 sq ft of retail space, a 55,000 sq ft ballroom and 400,000 sq ft of public realm including walkways and bikeways. All in, the project promises to be “a celebration of people and place and a model of sustainability”. Architects LMN worked in collaboration with Vancouver-based Musson Cattell Mackey Partnership and DA Architects & Planners to design the centre which will be used as a hub to support 7,000 media during the XXI Olympic & Paralympic Winter Games. But not suffice to support homosapians, a key element of the design was the restoration of the shoreline and marine habitat. Having worked with marine scientists, an underwater habitat skirt or artificial reef was developed as part of the centre’s foundation and now provides new habitat for barnacles, mussels, seaweed, starfish, crabs and various fish species. The green roof too is home to 400,000 indigenous plants and grasses, providing natural habitat to birds, insects and small mammals. But it will also provide vital insulation for the building. Other eco-measures include black water treatment and desalinization, a heat pump system that takes advantage of the constant temperature of adjacent seawater, extensive use of controlled daylighting and energy efficient fixtures. Local materials including locally harvested Douglas fir and Hemlock have been used for wood finishes reducing the harmful effects of transportation on the environment. Vancouver is a mixed bag of spectacular natural environment with an impressive urban core. This latest addition attempts to blend the two and create a synergy, acting as a powerful visual ambassador of the Pacific Northwest region’s commitment to sustainability. Niki May Young News Editor http://www.worldarchitecturenews.com/index.php?fuseaction=wanappln.projectview&upload_id=11387
  11. Technology and patient experience are key in €1billion design After 9 years in the making, the Akershus University Hospital near Oslo, Norway has opened. Designed and constructed by C. F. Møller Architects, it has a total area of 137,000 sq m and cost €1 billion to construct. During construction, from 1 March 2004, to 1 October 2008, some 1,400 people from 37 different nations contributed over 6.2 million man-hours erecting the new ‘super hospital’. The large-scale building will serve the 340,000 inhabitants from surrounding municipalities and boasts space for 50,000 in-patients with 4,600 staff members, including 426 doctors. The vision was to create something economical, innovative and a place people can relax and be at ease. Klavs Hyttel, partner in C. F. Møller Architects and lead architect of the project commented, “The concept of security should encompass both efficiency, technology and the familiar patterns of the daily routine. It is through this balancing act that we have created the architectural attitude of the building." The building differs in form throughout, yet notions of light and the outside environment are a common factor linking the assorted areas. Achieved through a glass covered main entrance, brightness is promoted throughout the main artery of the building. Coupled with the overriding use of wood as a key component in the structure. Adding colour and inspiring recovery, a €2.3 million art programme is in place mixing work from fresh and established Scandinavian artists. Contrasting with the organic materials in use are the advanced technological incorporations: Doctors can order medicine via PC which is then automatically dispatched to the patient; robotic un-manned trucks deliver bed linen and each patient bed comes with a TV, telephone and internet access. These futuristic practises give patients a more relaxed stay and increase the contact time they receive whilst enhancing the efficiency of such an institution. David Shiavone Reporter http://www.worldarchitecturenews.com/index.php?fuseaction=wanappln.projectview&upload_id=10465
  12. Three projects revealed as Amanda Levete Architects rises 2009 presents a challenge to all architecture practices, big and small. But to Amanda Levete the challenge presents a steeper climb than most. Having agreed in 2007 to separate business activities with her ex husband and business partner, the late Jan Kaplicky, Levete embarked upon the creation of an entirely new firm, leaving the Future Systems name to Kaplicky, who sadly passed away in January. With all eyes now on Levete, she has remained committed to works from the Future Systems portfolio such as the City Academy in London and Naples Subway, which are currently under construction. But now, Amanda Levete Architects has released details of the firm’s first three projects to be designed independently of Future Systems, launching the new firm at an international level and leaving voyeurs in eager anticipation of her creations. In London, Levete’s campus design for News International’s new headquarters will facilitate the media giant collective of international firms including 20th Century Fox, News of the World and MySpace. A second London project of lesser significance is Huntington on the banks of the Thames. But the signature project that could re-affirm Levete, commonly regarded as one of the parents of ‘blob’ architecture, as a heavy-weight in the architecture community, is the Central Embassy in Thailand. A major retail and hotel complex in central Bangkok’s primary commercial artery Ploen Chit Road, Central Embassy will be a new age architectural landmark for the city which has thusfar avoided the blatancy of contemporary architecture. The 1.5 million sq ft project will occupy the former gardens of the British Embassy in Nai Lert Park, and will consist of a 7-storey retail podium and a 30-storey 6-star hotel tower. “Central Embassy will be the first contemporary landmark building in Bangkok. It is demonstrably of its time but rooted in Thai heritage and culture. Our architectural ambition is matched by the ambition of Central to create the best and most exciting retail and hotel destination in Thailand,” said Levete. At first look, it is difficult to see where these roots take hold. But, as Project Director Alvin Huang explains, the design’s intricacies are wear the heritage is threaded. “Our design for this project has been underpinned by two strands of parallel research. “We carried out extensive studies in Thailand exploring and documenting traditional patterns, materials and fabrication methods. In tandem, we’ve experimented with the application of advanced digital design techniques such as scripting and parametric modelling as a means of abstracting our hands-on research to create an innovative synthesis of technology and heritage that is specific to the context of Bangkok.” And so Levete’s renowned attention to detail is married with the Thai’s own propensity for the same to create a very modern interpretation of Bangkok culture. Set to commence construction next year and complete in 2013, Central Embassy will provide a benchmark for the future success of Levete's solo ambitions. Niki May Young News Editor Key Facts Status Design Value 0(m€) Amanda Levete Architects http://www.amandalevetearchitects.com http://www.worldarchitecturenews.com/index.php?fuseaction=wanappln.projectview&upload_id=11351
  13. March 15, 2009 KEY | SPRING 2009 By JIM LEWIS New York is the capital of glass, the city of windows. Other cities get their gravitas from marble or stone, but New York is made of silica, soda ash and lime, melted to make this vitreous stuff: transparent, translucent and opaque; reflective, tinted, frosted, coated, clear. The slightest shift in the angle of sun fall can hide or reveal entire worlds, and as evening comes the city gradually turns itself inside out — the streets go dark and the buildings open up, offering their rooms like stagelets upon which our little lives are played. 25 Cooper Square: The Cooper Square Hotel Completed: 2009 Architect: Carlos Zapata Developer: Sciame Photo date: Sunday, Jan. 18, 2009 As old as the material is, glass remains a mystery. No one quite knows what goes on, down where the molecules bind — whether it’s a slow-moving liquid, an especially mutable solid or something in between. Still, new compounds appear regularly, with new qualities that promise new possibilities. The substance has never been exhausted, and may yet prove inexhaustible, an endless inspiration to architects and designers as it grows stronger, lighter, clearer and more flexible. 731 Lexington Avenue and 1 Beacon Court: Global headquarters for Bloomberg L.P. and other offices, as well as retail and residences Completed: 2005 Architects: Cesar and Rafael Pelli (Pelli Clark Pelli Architects) Developer: Vornado Realty Trust Photo date: Thursday, Jan. 15, 2009 For this issue, In Sook Kim, an artist with a special interest in intimacy and display, photographed five buildings in Manhattan — chips in the kaleidoscope of the city and homes to some of its most emblematic activities: business, the arts, putting up tourists and, of course, staying in for the night. 405 West 55th Street: The Joan Weill Center for Dance, home of the Alvin Ailey American Dance Theater Completed: 2004 Architect: lu + Bibliowicz Architects L.L.P. Photo date: Friday, Jan. 16, 2009 For each photograph, Kim, who is based in Germany, lit interior rooms with colored gels and arranged the occupants of the buildings in everyday tableaux. She then parked herself across from the buildings with a large-format camera, the glass of her lens facing the glass of the facades, creating portraits of the city as a crystalline beehive, always bright and always busy. 48 Bond Street: Condominium residence Completed: 2008 Architect: Deborah Berke & Partners Architects Developer: Dacbon L.L.C. Photo date: Wednesday, Jan. 21, 2009 http://www.nytimes.com/2009/03/15/realestate/keymagazine/15KeyGLASS-t.html?ref=keymagazine&pagewanted=print
  14. Architects Building - 17 floors (1932-1955) Southeast corner of Rene-Levesque and Beaver Hall. Demolished for the enlargement of René-Lévesque Blvd in the 1950's (then named Dorchester Blvd). http://imtl.org/montreal/building/Architect-Building.php?noter=1&note=10 (SSP) (SSP) http://coolopolis.blogspot.com/2009/11/where-ine-mtel-were-these-olde-thyme.html **************************** Monctezuma : j'ai modifié ton message pour y ajouter un backup photos, au cas où les liens se briseraient éventuellement.
  15. Step aside Toronto, the next housing boom is in Montreal Karen Mazurkewich, Financial Post Published: Friday, January 11, 2008 Gordon Beck/Canwest News Service What sets Montreal apart from other urban centers is the fact that it has retained its neighbourhood mosaic. When Montreal architect Henri Cleinge purchased an old wine depot in Montreal's Little Italy district in 2002, he transformed it into a contemporary three-unit condo with polished wood and concrete floors, iron staircases and stainless steel kitchens. He then flipped two of the units for seven times the original investment of $200,000. Mr. Cleinge had a few sleepless nights wondering whether the units would sell. He didn't have to worry. In Montreal, there's big demand for contemporary-design living. Much has been made about Toronto's big museum projects and condo lineups, but Montreal is also changing its shape. Toronto housing prices have experienced 58% growth since 2000. The island of Montreal, however, has seen housing sales jump 50%, but the city itself has gone up 94%. In addition, a new concert hall and 28-storey condo tower is being erected atop Place des Arts metro, two mega hospitals are under construction and Sotheby's International Realty recently entered the market. As well, the largest private real estate investment in decades, involving 4,000 dwellings and a shopping plaza, is scheduled to get a green light from city hall. Montreal's mojo is back. But its not the big urban projects that are redefining this city. What makes Montreal distinct from other urban centres is the fact it has retained its neighbourhood mosaic. The most famous is the northeastern district known as Plateau-Mont-Royal. The Plateau has become the most expensive address in the city, with its average housing price jumping 105% in the past seven years. It's also one of the reasons Montreal consistently ranks among the top 25 cities in the world for quality of life. Like Greenwich Village in New York or Haight-Ashbury in San Francisco, the Plateau is where culture and haute couture intersect. In the 1980s, the Plateau was a string of shabby row houses. Owners lived on the main floor and rented the walk-ups. But the working-class enclave changed dramatically in the 1990s, when new legislation made it possible to subdivide duplexes and triplexes into condo apartments. "Instead of a single owner, who would rent one or two of the other floors, now each apartment is owned individually and people are now willing to invest," says Susan Bronson, a Montreal heritage conservationist. The artists and architects that moved into the area with nothing in their pockets can now afford to invest. The hood became hip because it maintained "high bohemian index," she says. Montreal's Mile End, a subsection within the Plateau immortalized by Canadian author Mordecai Richler, has seen the greatest upheaval. Gone are the icons: the discount grocery store Warshaw's, Simcha's Fruit Market and St. Laurent Bakery have closed. Instead, a slew of new high-concept design stores, including Interversion and Latitude Nord, have staked out Boulevard Saint-Laurent, turning it into the new fashion Mecca. Even the old rag-trade factories, religious buildings and empty lots have received a radical facelift. Architect Eric Gauthier, who created the landmark Espace Go on Saint-Laurent, is currently constructing the all-new Théâtre de Quat'Sous on formerly grungy Avenue Pins. The firm Lepointe Magne has also made its mark on the Plateau, redesigning the public swimming pool Bain Lévesque and converting an old fire hall into the high concept Théâtre Espace Libre. In Plateau's housing, one of the first innovations was Atelier Big City's 1989 Sept-Plex condominium project on Clark Street, which made creative use of the narrow street fronts and back lanes. Atelier Build reinvented the notion of infill with its 2004 "thin house" project along Avenue L'Hotel-du-ville. When she started her architectural company with partner Michael Carroll 12 years ago, Danita Rooyakkers of Atelier Build, says few others were betting on the Plateau. Political instability in the province was a deterrent for developers, but it was the perfect time for a young architect with modest means and big dreams. Ms. Rooyakkers biked around Plateau in search of cheap empty lots and made her mark by eschewing the traditional walk-ups, where every family gets a floor, and subdivided the property so each owner has a front door, backyard and terraces. By opening up the walls and adding skylights, the architectural firm created a vertical loft. It won awards because it offered another prototype for high-density Montreal living, she says. The design aesthetic in Montreal has been tempered by activism. The Plateau is not only governed by a planning advisory committee stacked with architects and landscapers, it has community watchdogs galore, including the Mile End Citizens Committee and Urban Ecology. Every architect working here has had to face fierce town hall forums before building begins. "As educated local residents, we have both a sense of entitlement and empowerment," says Owen Rose, an architect and head of the Urban Ecology group, which focuses on urban green spaces. "It's easy to get involved in issues because we are constantly bumping into each other on the street in this urban village," he says, adding that community involvement has permeated the local culture. As one of the first architects to help reshape the plateau, Mr. Gauthier was frequently forced to marry old facades with his slick contemporary style to meet the borough's strict guidelines. With Théâtre de Quat'Sous, he's been given an exemption: the historic synagogue in which the theater is currently housed didn't meet safety codes so it will be replaced by a showy new architectural structure. Mr. Gauthier is concerned about a public outcry, but he's excited about the new design. "If you want to keep the city alive, you need to add new buildings and new layers." While the strict development guidelines built a "cohesive" neighbourhood, he says, "we've passed the point where conservation should now trump freedom." Mr. Cleinge, the architect, is trying to exercise that freedom. In recent years he has revamped in his sleek industrial design look a microbrewery on Duluth Street as well as the Les Chocolats de Chloe of Roy Street East. He avoids wood stairs and plastered ceilings, preferring concrete and steel for urban living spaces. The look reflects the city's history, he says. "Montreal is an industrial city with a large garment industry so it's appropriate language to use in a residential context," he says. Luckily for him, clients such as Stéphane Dion and Éloïse Corbeil, typical Plateau dwellers, are looking to restyle their 1880s duplex. Ms. Corbeil's father purchased the building on Christophe Columb Street in 1996 when she and her brother needed a place to live while they attended university. Ms. Corbeil's brother has since moved to the United States, but the 33-year-old writer-filmmaker and her lawyer husband still love the mixed neighbourhood. They looked in the swank neighbourhoods of Westmount and Outremont after the birth of their two children, but decided to stay put. "We didn't want to go to the suburbs because we like the diversity here," says Ms. Corbeil. Conscious of their limitations but eager for a contemporary style, they hired Mr. Cleinge after seeing his work in a magazine. His mandate was to keep a portion of the "stacked wood" interior shell of the house, but rebuild the place from top bottom. He proposed a mezzanine open-style approach to filter more light into the home and create more space. Concrete floors and iron railings are part of the new plan. For most young buyers, the Plateau is now untouchable - meaning overpriced. Its evolution, however, has created a ripple effect across the city and intensive gentrification is happening in the shabby districts of Point St. Charles and the Jean Talon market area. "The Plateau has matured," says Mr. Cleinge. But the condoization of Montreal has only begun. Financial Post [email protected] http://www.financialpost.com/magazine/family_finance/story.html?id=231679
  16. Très très belle rénovation du Palais de Justice de Montmagny!! Beautiful restoration project for the House of Justice of Montmagny, a small city of about 12 000 people, situated 45min north east of Quebec City. Architects: ccm2 of Quebec City Photographer: Stéphane Groleau http://www.architectureduquebec.com/blogue/palais-de-justice-de-montmagny?rq=montmagny
  17. http://montrealgazette.com/news/local-news/montreal-re-imagined/montreal-reimagined-cityscape-is-more-than-only-a-view The Montreal Re-Imagined section is presented by Concordia University Concordia University Montreal Reimagined: Cityscape is more than only a view MONTREAL, QUE.: April 02, 2015 -- Logo staff mugshot / headshot of Luca Barone in Montreal Thursday April 02, 2015. LUCA BARONE, SPECIAL TO MONTREAL GAZETTE Until I graduated, my daily hike up to McGill’s Faculty of Law on the corner of Peel St. and Dr. Penfield Ave. began at the corner of de Maisonneuve Blvd. W., where I would emerge into daylight from the métro station. Ascending into the world from the underground takes a little readjusting: you look around to get your bearings, check the weather, and let your eyes readjust to the sunlight. I was never afforded much to look at until I began walking north up Peel and glimpsed the mountain. The east-west view along de Maisonneuve is disappointing. Look left or right and the view is the same: dark towers pockmarked with windows rise up on the horizon. When a building obstructs a view down a street and becomes the focal point of what you see, it is known as a terminated vista. They can be a blessing and a curse. They also can help create a sense of destination and diversity in a city and can be manipulated to highlight significant landmarks. The view of McGill’s campus against the backdrop of Mount Royal from McGill College Ave. is one of Montreal’s iconic landscapes. Looking south down St. Urbain St., the view of the Art Deco waterfall of the Aldred Building on Place d’Armes is another example of a successful blocked view that beckons rather than repulses, as is the view of the dome of the Hôtel-Dieu looking north along Ste-Famille. These landmarks create a sense of place and they are symbols of our city. But look south down Parc Ave. toward Place du Parc (the Air Transat building) and the view is hardly inspiring. When the view down a street ends in a blank tower, the terminated vista does not help create a more livable city. Not every building should be monumental or iconic, but any urban building should make you want to walk toward it rather than avert your eyes. Downtown towers should be built because they have many virtues, from proximity to public transit to the lower environmental effect of higher population density, but we should not ignore how these buildings relate to their surroundings. Uniformity should not be the goal, either: a building should not have to look exactly like its neighbours, but it should complement them. Without exaggerating the importance of the look and shape of buildings, Montrealers deserve more than what we’re getting from urban planners, architects and real estate developers. We should trudge out of the métro and be delighted by what we see. In a city full of talented architects, much of the blame for uninspired buildings lies with real estate developers who don’t hire local talent, and city councillors and urban planners who give construction permits without paying sufficient attention to buildings’ visual impact. The Louis-Bohème building on the corner of Bleury and de Maisonneuve is an example of a building that succeeds on many levels. Its apartments make the best use of the land by increasing the density of residents in the area. It also has underground parking and shops at ground level, from where you can also access the Place-des-Arts métro station. In many ways, the building represents exactly the kind of development Montreal needs. But it fails as an element of the urban landscape. When you see it rising above Parc or de Maisonneuve, the view of its charcoal concrete panels leaves you unmoved at best and intimidated at worst. In a city that suffers from interminable winters exacerbated by short days and little sunlight, buildings clad in light-absorbing, dark materials are not merely ugly — they should be considered a public health concern. One way to improve urban design would be to develop a sustainable local architecture that is responsive to our climate. Initiatives like the Quartier des Spectacles’ Luminothérapie winter light installations are a great start, but the city should take a more active role in promoting architecture that makes long winters more bearable. For example, Edmonton has issued specific winter design guidelines that promote architectural features that block wind, maximize sunlight, and enliven the cityscape as part of its “WinterCity Strategy.” It is not easy for a building to enrich its surroundings while responding to the demands of a city and its inhabitants, the climate and the economy. But our buildings speak eloquently about who we are and what we value. We have to live with them for decades, if not centuries. It’s worth getting them right sent via Tapatalk
  18. http://www.architectmagazine.com/Architecture/the-best-and-worst-architectural-events-of-2014_o.aspx Voir le lien pour les images BEYOND BUILDINGS The Best and Worst Architectural Events of 2014 Aaron Betsky presents 10 lamentable moments and 10 reasons for hope in architecture. By Aaron Betsky New National Stadium, by Zaha Hadid Architects New National Stadium Tokyo, Japan Zaha Hadid Architects Everywhere this last year, we heard the call for a return to order, normalcy, the bland, and the fearful. Herewith are ten examples, in no particular order, of such disheartening events from 2014—and ten things that give me hope. Reasons to Despair 1. The demolition of the American Folk Art Museum in New York, by Tod Williams Billie Tsien Architects. Idiosyncratic both in layout and façade—and absolutely breathtaking. The MoMA monolith keeps inflating its mediocre spaces; I despair and wonder if Diller Scofidio + Renfro (DS+R) will be able to rescue it from almost a century of bad and too-big boxes 2. The defeat of Bjarke Ingels Group’s proposals for the Kimball Art Museum in Park City, Utah. The second proposal was already less exciting than the first, an award-winning, spiraling log cabin, but even the lifted-skirt box caused too many heart palpitations for the NIMBYists 3. The protests against Zaha Hadid’s Tokyo Olympic Stadium design, which left the building lumpen and unlovely. At this point, Arata Isozki is right: they should start over 4. The Guggenheim Helsinki Design Competition, leading to the selection of banal finalists 5. President Xi’s call for an end to “weird” architecture. What is truly weird is the amount of mass-produced boxes in which China is imprisoning its inhabitants and workers 6. Prince Charles’ recitation of the kind of architecture that makes him feel good. The ideas are very sensible, actually, but a beginning, not an end [Ed. note: The linked article may appear behind a paywall. Another reporting of Prince Charles' 10 design principles may be found here.] 7. Ground Zero. Actually, almost a farce since it was a tragedy that now has turned into just a dumb and numbing reality 8. The New York Times’ abandonment of serious criticism of architecture 9. The reduction of architecture to a catalog of building parts in the Venice Biennale’s Elements exhibition 10. A proposal from Peter Zumthor, Hon. FAIA, for a new LACMA building that looks as weird as all the other buildings proposed and built there, but is just a curved version of a pompous museum isolated from its site. It is a mark of our refusal to realize that sometimes reuse—of which LACMA’s recent history is an excellent example—is better than making monuments Credit: © Atelier Peter Zumthor & Partner Reasons for Hope 1. The addition to the Stedelijk Museum of Art in Amsterdam: a strangely beautiful and effective bathtub Stedelijk Museum, Amsterdam, by Benthem Crouwel Architekten. Stedelijk Museum, Amsterdam, by Benthem Crouwel Architekten. Credit: © Jannes Linders 2. The renovation of the Rijksmuseum in Amsterdam—though not its Louvre-wannabe entrance The ribbed, tiled vaults of the Museum Passageway beneath the Gallery of Honor were restored; arched windows overlook the renovated courtyards on either side. The ribbed, tiled vaults of the Museum Passageway beneath the Gallery of Honor were restored; arched windows overlook the renovated courtyards on either side. Credit: Pedro Pegenaute 3. The Philadelphia Museum of Art’s plan to go gloriously underground 4. The Smithsonian’s plan to do the same Aerial view of the South Mall Campus with proposed renovations. Aerial view of the South Mall Campus with proposed renovations. Credit: BIG/Smithsonian 5. The Belgian Pavilion exhibition at the Venice Biennale: looking reality in the eyes and making beauty out of it 6. Cliff Richards rollerskating through Milton Keynes in the same; ah, the joys of modernism 7. Ma Yansong’s proposal for the Lucas Museum in Chicago—especially after the horrible neo-classical proposal the same institution tried to foist on San Francisco; though this oozing octopus sure looks like it could use some refinement, or maybe a rock to hide part of it South view. South view. Credit: Lucas Museum of Narrative Art 8. The spread of bicycling sharing in cities like Barcelona and around the world, if for no other reason than that this way of movement gives us a completely different perspective on our urban environment 9. The spread of drones, ditto the above, plus they finally make real those helicopter fly-through videos architects have been devising for years 10. The emergence of tactical urbanism into the mainstream, as heralded by the MoMA exhibition Uneven Growth: Tactical Urbanisms for Expanding Megacities. I hope that shows the way for the next year Aaron Betsky is a regularly featured columnist whose stories appear on this website each week. His views and conclusions are not necessarily those of ARCHITECT magazine nor of the American Institute of Architects. sent via Tapatalk
  19. Pavillon John-Molson Architectes: KPMB Architects – FSA Architectes Fin de la construction:2008 Utilisation: Nouveau pavillon de l'université Concordia Emplacement: Quartier Concordia (Centre-ville), Montréal 76 mètres (253 pieds) - 17 étages Lien: http://www.johnmolson.concordia.ca/building/index.html Description: - Le projet coûtera 60 millions de dollars.
  20. The New York Times Printer Friendly Format Sponsored By June 8, 2008 Allez voir plus de photos sur le site: http://www.nytimes.com/2008/06/08/magazine/08mvrdv-t.html?_r=1&sq=montreal&st=nyt&oref=slogin&scp=1&pagewanted=all By DARCY FREY In the fall of 2002, a young Dutch architect named Winy Maas came to Yale to give a lecture on designing and building the 21st-century city, the challenges of which he illustrated by showing a 30-second video that could have been shot above any American metropolitan airport: a view of the tops of several buildings and then, as the camera rose, more and more buildings, more roads and bridges and asphalt lots, until an ugly concrete skin of low-rise development spread to all horizons. Maas was not the first architect to protest the unsightly sprawl that humans have left over much of the earth’s surface, but he may have been the first to suggest that we preserve what’s left of our finite planetary space by creating “vertical suburbias” — stacking all those quarter-acre plots into high-rise residential towers, each with its own hanging, cantilevered yard. “Imagine: It’s Saturday afternoon, and all the barbecues are running,” Maas said, unveiling his design for a 15-story building decked out with leafy, gravity-defying platforms. “You can just reach out and give your upstairs neighbor a beer.” He turned next to agriculture. Noting that the Dutch pork industry consumes huge swaths of land — Holland has as many pigs as people — Maas proposed freeing up the countryside by erecting sustainable 40-story tower blocks for the pigs. “Look — it’s a pork port,” he said, flashing images from PigCity, his plan for piling up the country’s porcine population and its slaughterhouses into sod-layered, manure-powered skyscrapers that would line the Dutch coast. Maas is the charismatic frontman for the Rotterdam-based architecture, urban-planning and landscape-design firm known as MVRDV, which brims with schemes for generating space in our overcrowded world. With his messy, teen-idol hair and untucked shirt, Maas strolled the stage extolling the MVRDV credo — maximize urban density, construct artificial natures, let data-crunching computers do the design work — while various mind-bending simulations played across the screen: skyscrapers that tilted and “kissed” on the 30th floor; highways that ran through lobbies and converted into “urban beaches”; all the housing, retail and industry for a theoretical city of one million inhabitants digitally compressed into the space of a three-mile-high cube. The Netherlands, prosperous and progressive, has long been one of the world’s leading exporters of architectural talent. By the mid-1990’s, not only Rem Koolhaas and his Office for Metropolitan Architecture but also a whole new generation of designers — MVRDV, West 8, UNStudio — were trying to enlarge Le Corbusier’s definition of architecture as the “magnificent play of volumes brought together under light” and arguing for a process driven by research, information and a greater social and environmental awareness. Fighting their battles not just building to building but on a sweeping, citywide scale, Holland’s architects and designers were, in the words of the Dutch culture minister, “heroes of a new age.” Still, paradigms tend to fall only under pressure, and at the start of the new millennium an audience at the Yale School of Architecture could be forgiven for greeting vertical suburbs, pig cities and the rest of MVRDV’s computer-generated showmanship with the same slack-jawed disbelief that once greeted Fritz Lang’s “Metropolis” or the 1909 Life magazine cartoon that promised an urban utopia of country villas perched atop Manhattan skyscrapers while double-decker airplanes whizzed through their atria. When Maas came to New Haven, MVRDV was barely 10 years old and had hardly built outside its native Holland. And yet there he was with his straight-faced scheme to “extend the globe with a series of new moons” — send up food-producing satellites that would orbit the earth three times a day. “Can you imagine,” he said with a boyish, science-fair enthusiasm that indulged no irony, “if we grew our tomatoes 10 kilometers high?” On the lecture-hall screen, New York’s skyline appeared just as the MVRDV satellite passed overhead, darkening Gotham with a momentary eclipse of the sun. Who were these Dutch upstarts? And in the so-called real world, would anything actually become of their grand, improbable visions? The 45 architects and designers who make up MVRDV (the name is formed by the surname initials of Mass and his two founding partners, Jacob van Rijs and Nathalie de Vries) work out of a converted, loftlike space in an old printing plant in Rotterdam, a dull but industrious port city whose historic districts were leveled by the Nazis and whose jagged skyline of new office towers and construction cranes attests to its still-restless effort to rebuild. Inside MVRDV, a liquid northern light pours through a wall of high arched windows, and the occasional cries of foghorns and seagulls confirm its location just blocks from the city’s main shipping lane. But otherwise, the mostly 30-something architects who sit with a slouching intensity at rows of long communal tables, surfing Google Earth or manipulating blue-foam architectural models, seem to have their minds in other places. “Now here’s a nice project of ours,” Jacob van Rijs said, leading me over to a small cardboard model for a library near Rotterdam when I visited the firm this spring. Because zoning laws required that the library not exceed the height of the town’s steeple, MVRDV designed it like a barn and filled its spacious interior with a continuous spiral of book-bearing walls leading to a bar and a fireplace at the top. “It’s like a spatialization of a library filing system. Every title will be visible, so you won’t have to know what you’re looking for — you can just come in and browse.” Van Rijs — menschy, informal, with a skill for taking Maas’s flights of rhetoric and bringing them helpfully down to earth — guided me on to the next model, this one for a new housing block in a generic, somewhat featureless region of the Netherlands; from a distance the housing block will appear as giant letters spelling out the region’s name. “It’s like the Hollywood sign — you’ll see our building and instantly know where you are.” And on to the models for an arched, open-air market hall whose ribs are formed by apartment units (“so you can call down from your kitchen window and ask your husband to pick up some fruit”); the design-your-own mountain grottos with interchangeable rooms for a developer in Taiwan (“they’re like customizable Native American caves”); the new soccer stadium in Rotterdam that, because it replaces an older one fondly known as the Tub, will sit like a dish in the Maas River. “You know, what’s the best place for a tub? So we put it in the river!” Van Rijs gave a giddy laugh. “Some projects just make you happy.” Maas and van Rijs, who both worked for Koolhaas, and de Vries, who practiced with the Delft-based Mecanoo, formed MVRDV in 1991 after their design for a Berlin housing project won the prestigious Europan competition for architects under 40. Holland has always been a good place to think creatively about space, with its congested countryside (16 million people squeezed into an area the size of two New Jerseys), its faith in planning and the democratic welfare state and its keen appreciation for land that comes from having reclaimed two-thirds of its own from the edge of the North Sea. Meanwhile, young designers were hoping the economic boom and housing shortage of the 1990s would give them the chance to build domestically on a large scale. Still, two years after they formed MVRDV, Maas, van Rijs and de Vries were struggling to find work and practicing out of makeshift offices (during meetings with prospective clients, they’d sometimes recruit friends to keep the phones ringing and wander through in suits) when a Dutch public broadcasting company, VPRO, approached them about a possible new headquarters in Hilversum. The project’s constraints were formidable. VPRO’s 350 employees — “creative types,” van Rijs says; “individualistic,” de Vries adds; “a settlement of anarchists with an obnoxious attitude toward corporate identity” Maas concludes — were then spread out among several buildings, enjoying their fiefs and the company’s culture of noncommunication. Even if a new headquarters could bring them all under one roof, it was impossible to predict how the employees would actually use the building, given their fluid work patterns and chaotic organizational hierarchies. “The mandate was: How can we get them to start communicating with each other?” Maas says. “And the answer was: By putting them in a box.” Villa VPRO, which became the defining project of MVRDV’s early career, is a densely constructed, five-story box — a “hungry box,” as one critic called it — with an endlessly flowing and adaptable interior that renders in spatial form the company’s anarchic spirit. MVRDV created a concrete labyrinth of winding stairs, twisting ramps and narrow bridges; a continuous surface of stepped and slanted planes with no real walls, just colored-glass partitions so that sunlight could penetrate into the depths of its compact terrain. “Clearly, VPRO was a social-engineering project,” Maas says. “We built a vertical battlefield for the users, one place where they could all meet and argue and find out how to behave. Because of all the hills, slabs and stairs, they were forced to maneuver through the building. Some people hated it — they lost their way, they were overwhelmed by their colleagues. Others loved it. But they all had to deal with each other. I like that. That’s part of life.” A year later, MVRDV took social engineering to a new level when it won a commission to represent Holland in Expo 2000 in Hanover, Germany. Expos are notorious excuses for creating second-rate architecture, piling up dreary national pavilions and Disneyfied theme parks around which crowds circulate in a candy-consuming stupor. At the Hanover expo, MVRDV stole the show with another vertical confection — this time a six-story tower of stacked and sustainable artificial Dutch landscapes that included an oak forest, a meadow of potted flowers, ersatz concrete sand dunes for purifying irrigation water and a “polder landscape” of dyke-protected turf powered by wind turbines spinning away on the roof. The MVRDV pavilion was, one critic wrote, “science class with the chutzpah of Coney Island.” Another predicted that it would “go down as one of the few truly great pieces of expo architecture,” alongside Mies van der Rohe’s Barcelona Pavilion and Moshe Safdie’s Habitat flats at the Montreal expo. Visitors lined up for hours to climb through what was inevitably dubbed the “Dutch Big Mac.” But beyond its playful innovation, MVRDV had lofty aspirations for its pavilion, hoping that it would carry the optimistic (and very Dutch) message that in the face of extreme population densities and the craving for open land, you could actually manufacture space — even create an artificial nature out of thin air — by condensing your landscapes on the floors of a building and reproducing them endlessly toward the sky. “The Dutch population is essentially antiurban,” de Vries says. “Therefore as architects in Holland we have a special responsibility to make living in cities and under dense circumstances not just habitable but preferable.” “It was sort of a test case,” Maas says. “At a time when urbanism is still dominated by ‘zoning,’ which is a very two-dimensional approach, we wanted to know: can we extend our surfaces? Can we develop an urbanism that enters the third dimension?” The Hanover pavilion was “a utopian formula born of necessity to allow the unlimited creation of new real estate,” wrote the critic Holger Liebs. It was “a practical model for the reinvention of the world.” At the architectural library at the Delft University of Technology, there’s a copy of a 736-page book by MVRDV called “Farmax: Excursions on Density,” which is a hodgepodge of essays, transcripts, photos, computer designs, graphs and charts, all examining the growing suburban “grayness” of the Dutch landscape and proposing different solutions for saving the pastoral landscape by “carrying density to extremes.” So many students have borrowed, read and plundered that copy of “Farmax” that it had to be pulled from circulation and has sat in a state of complete disintegration inside a kind of glass vitrine. When I mentioned this to van Rijs, he laughed and said: “Yeah, I’ve seen that. Our book is like a museum piece. Isn’t that fun?” While projects like VPRO and the Hanover pavilion were leading to design commissions in Copenhagen, Madrid, Paris, Tokyo and China’s Sichuan province, MVRDV was also reaching outside the realm of established architectural practice by producing a series of theoretical exercises — books, films, exhibitions, even computer games — that amounted to an ongoing propaganda war on behalf of the firm’s radical ideas about space. After “Farmax,” MVRDV put out another doorstop manifesto, “KM3: Excursions on Capacities,” which warned that if the global population “behaved with U.S.-citizen-like consumption,” another four earths would be required to sustain it. In the exhibit 3D City, they pushed ever upward, advocating giant stacking cities that, as MVRDV breathlessly described them, exist “not only in front, behind or next to you, but also above and below. In short a city in which ground-level zero no longer exists but has dissolved into a multiple and simultaneous presence of levels where the town square is replaced by a void or a bundle of connections; where the street is replaced by simultaneous distribution and divisions of routes and is expanded by elevators, ramps and escalators. . . .” Perhaps MVRDV’s most ambitious theoretical exercise was the traveling computer installation they called MetaCity/Datatown. Predicting that globalism and an exploding planetary population will push certain regions throughout the world into continuous urban fields, or megacities, MVRDV conceived a hypothetical city called Datatown, designed solely from extrapolations of Dutch statistics. (“It is a city that wants to be explored only as information; a city that knows no given topography, no prescribed ideology, no representation, no context. Only huge, pure data.”) According to its creators, Datatown was a self-sufficient city with the population of the United States (250 million) crammed into an area the size of Georgia (60,000 square miles), making it the densest place on earth. MVRDV then subjected this urban Frankenstein to 21 scenarios to see how they would affect the built environment: What if all the residents of Datatown wanted to live in detached houses? What if they preferred urban blocks? What could be done with the waste? (Build 561 ski resorts.) What kind of city park would be needed? (A million Central Parks stacked up over 3,884 floors.) “The seas, the oceans (rising as a result of global warming), the polar icecaps, all represent a reduction in the territory available for the megacity. Does that mean that we must colonize the Sahel, the oceans or even the moon to fulfill our need for air and space, to survive? Or can we find an intelligent way to expand the capacities of what already exists?” On one level, MetaCity/Datatown was a game and a provocation — architecture as a kind of thought experiment: can the urban landscape be reduced to a string of ones and zeroes? Is what we think of as outward reality nothing more than the physical manifestation of information? But MetaCity/Datatown was also a serious investigation: by translating the chaos of the contemporary city into pure information — or, as MVRDV called it, a datascape — and then showing the spatial consequences of that datascape through computer-generated designs, MVRDV set out to reveal how our collective choices and behaviors come to mold our constructed environments. “These datascapes show that architectural design in the traditional sense only plays a very limited role,” Bart Lootsma, an architectural historian, writes in one of many essays inspired by the exhibit. “It is the society, in all its complexities and contradictions, that shapes the environment in the most detailed way, producing ‘gravity fields’ in the apparent chaos of developments, hidden logics that eventually ensure that whole areas acquire their own special characteristics — even at a subconscious level.” Lootsma cites a number of these invisible forces — market demands precipitating a “slick” of houses-with-gardens in the Netherlands, political constraints generating “piles” of dwellings on the outskirts of Hong Kong, the cultural preference for white brick causing a “white cancer” of housing estates in the Dutch province of Friesland. These are “the ‘scapes’ of the data behind it,” he writes. Moreover, to the extent that MVRDV approaches architecture not as a conventional expression of aesthetics, materials and form but as an almost scientific investigation into the social and economic forces that influence our constructions, the datascapes were also a dry run for the firm’s own built work. That work, says Aaron Betsky, the former director of the Netherlands Architecture Institute and a longtime MVRDV-watcher, is really an ongoing project of “giving shape to those zeroes and ones,” of making the conceptual real, of turning abstract information into concrete form. When MVRDV begins a project, it starts by assembling information on all the conceivable factors that could play a role in the site’s design and construction — everything from zoning laws, building regulations and technical requirements to client wishes, climatic conditions and the political and legal history of the site. Architects often view these rules and regulations as bureaucratic foils to their creativity. MVRDV sees them as the wellspring of invention. In fact, believing that subjective analysis and “artistic” intuition can no longer resolve the complex design problems posed by the ever-metastisizing global city, the architects sometimes use a home-built software program called Functionmixer. When loaded with all the parameters of a particular construction project, Functionmixer crunches the numbers to show optimal building shapes for any given set of priorities (maximizing sunlight, say, or views, or privacy) and pushes limits to the extreme, where they can be seen, debated and, often, thoroughly undone. It creates a datascape that is the basis of the design. In 1994, for instance, MVRDV was asked to build housing for the elderly — an apartment block with 100 units — in an already densely developed suburb of Amsterdam. Because of height regulations and the need to provide adequate sunlight for residents, only 87 of the called-for units could fit within the site’s restricted footprint. Rather than expand horizontally and consume more of the neighborhood’s green space, MVRDV borrowed a page from its “vertical suburbia” and hung the remaining 13 apartments off the side. Their wonderfully odd WoZoCos housing complex takes the conventional vertical housing block and reorganizes it midair with these bulging extensions that seem to be levitating right up off the ground. Four years later, when MVRDV was selected to build economically mixed housing in Amsterdam’s docklands area, the firm held countless negotiations with the parties involved — local politicians, the planning authority, possible future residents — all of whom advocated for a different distribution of the housing. Eventually MVRDV threw all the data into a computer and came up with the Silodam — 157 apartments of various sizes and prices that sit together in one 10-story multicolored block that rises on stilts from the harbor like a docked container ship. From the outside, the Silodam looks simple enough — as literal as a child’s giant Lego construction — but inside the block is filled with a vast array of dwellings arranged into economically mixed “mini-neighborhoods,” while a series of communal galleries and gangways allow residents to walk from one end of the “ship” to the other. MVRDV’s radical, research-driven methodology has been a source of fascination to critics and competitors from the start. “No one else has found as convincing a way,” writes the historian Lootsma, of “showing the spatial consequences of the desires of the individual parties involved in a design process, confronting them with each other and opening a debate with society, instead of just fighting for one or the other, as most architects would.” And the urbanist and designer Stan Allen, now dean of the Princeton School of Architecture, points out that “rather than impose structure, leading to closure and more precise definition, MVRDV works to keep the schema open as long as possible, so that it can absorb as much information as possible.” In fact, MVRDV’s architects rely so much on gathering and metabolizing data, information and competing points of view that they insist they leave no formal signature on their work. “We try to avoid any sort of aesthetic aspect in our designs,” van Rijs told me. “Unlike Gehry, Zaha and others whose work is easy to recognize, we don’t have a strong personal style. Our methodology is based more on logic. Sometimes we call it an iron logic: depending on the situation, we come and take a look and say: ‘What’s happening? What should be done?’ Then we follow a step-by-step narrative, and when you see the building, you get the final result. It’s the only possible outcome. You cannot see anything else.” But if MVRDV’s design process is really so rational and objective — if, as Stan Allen says, the architects reject “fuzzy intuition” and “artistic expression” for a step-by-step pragmatism in which “form is explained only in relation to the information it encodes: architecture as a series of switches, circuits or relays activating assemblages of matter and information” — then why, Allen asks, are their creations so unexpected and witty, sometimes even so spectacular? Commissioned to build large-scale housing in a sprawling Madrid neighborhood already choked with monotonous low-rise construction, MVRDV designed a typical horizontal housing block with an interior courtyard. Then the architects flipped the block on its side to create Mirador, a towering 22-story icon for the neighborhood with the courtyard now transformed into an enormous, open-air balcony offering sweeping views of the Guadarrama Mountains. Some MVRDV designs are so logical they seem to turn reality on its head. In 2007, two years after Hurricane Katrina devastated much of New Orleans, the actor and architectural enthusiast Brad Pitt asked 14 design firms to help his nonprofit Make It Right rebuild the city’s impoverished Lower Ninth Ward, one of the neighborhoods hardest hit by the storm. Specifically, he asked for designs for an affordable — but also floodproof — 1,200-square-foot house with three bedrooms and a porch. Maas, van Rijs and de Vries — citizens of a country that is continually defending its buildings from the threat of inundation — had already contributed to an exhibit of post-Katrina architecture: inspired by a child’s crayon drawing of New Orleans residents walking to safety up an imaginary hill, they conceived a new elementary school made safe from rising waters by tucking it inside an artificial, grass-covered mound, where balconies hung off the sides and a playground covered the top. Now, having received Brad Pitt’s call, they came up with an ingenious, almost whimsical solution to the problem of future flooding: their “Bend House” was a variation on the South’s traditional low-slung shotgun houses, this one hinged in the middle so that its front and back are raised above the waterline. Some critics were appalled. By creating a dwelling that already looked flood-damaged, perhaps even uninhabitable, MVRDV appeared to be using the New Orleans disaster to score political points or, worse, to be winking ironically at the residents’ ongoing plight. Others thought the Bend House was emblematic of MVRDV’s best work and of the architects’ knack for creating buildings whose formal inventiveness arises from the explicit display of the social or environmental problems that brought them to life: VPRO’s endless interiors signaling the need for social connection; WoZoCos’s hanging boxes showing how to preserve our green spaces; the festively striped Silodam offering ways to mix rich and poor. “The architecture that we make is part of the ordinary, part of our pop culture,” Maas told me. “At the same time, the buildings try to engage with society by questioning our behavior and offering alternatives. And they offer those alternatives by showing — visibly, obviously — in their actual design the social problems we were trying to address. When you see the object, you see the question.” Maas’s remark brought to mind an appraisal of MVRDV’s work by the French architect Alain Guiheux. “A great mystery in architectural projects surrounds the definition of what is acceptable to the client,” he writes. Where does the client’s caution and censorship begin? At what point does that caution become the architect’s own self-censorship? Guiheux goes on to say that MVRDV tries to resist society’s censorship — and overcome its own — by using playfulness to “soften up conformity” and by “pushing back the line between the reasonable and the incredible.” That, he says, is their “magic,” and has effected a break with architectural convention “like that undergone by painting at the beginning of the 20th century, pre- or post-Duchamp.” In the case of MVRDV’s New Orleans Bend House, the playful break with convention was not accomplished without considerable debate. “When you have a federal government that doesn’t invest in its levees, that makes people’s land completely worthless, that makes its own citizens insanely poor, you need a design that makes a protest, that rises up and says, What is going on here?” Maas said. “But in discussions with Brad and the others, we kept asking: Yes, but can we show that explicitly? Can we come out with that? It’s going to look ironic! How can you be ironic in the face of disaster? Will the American people be angry? “But even in the most tragic circumstances,” Maas went on, “there is often a moment of irony. Well, is it irony? Or is it really more like . . . ?” He paused, at an uncharacteristic loss for words. “There is this beautiful German word, Trost. It means empathy, or solace, or maybe consolation. I think that is what our building meant to express. You know, if the waters are going to come, let them come. Let’s do it. Let’s just turn and face it.” Darcy Frey is a contributing writer for the magazine. His last article was about bears who were overtaking a Canadian town. Home * World * U.S. * N.Y. / Region * Business * Technology * Science * Health * Sports * Opinion * Arts * Style * Travel * Jobs * Real Estate * Automobiles * Back to Top Copyright 2008 The New York Times Company
  21. The largest hospital project in Danish history has been won by a consultancy team led by C. F. Møller Architects and including London practice Avanti Architects. The hospital complex will comprise 400,000 m2, with the new addition providing 250,000 m2. The hospital is intended to function as a teaching hospital, a regional centre of excellence and a basic hospital for local residents. The hospital design incorporates a large degree of flexibility to accommodate future requirements regarding new technology, forms of treatment and working practices, and it will also introduce a considerable qualitative improvement in both the experiences of patients and the working conditions for the staff. Avanti Architects and C. F. Møller Architects have developed a collaboration allowing them to bid for significant health projects in the UK and abroad. Aarhus is the first and a very important success. A total of four teams competed in the final round for the New University Hospital. The winning consultancy team, DNU consortium, included the following architectural practices: C. F. Møller Architects, Cubo Arkitekter A/S, Avanti Architects http://www.worldarchitecturenews.com/index.php?fuseaction=wanappln.projectview&upload_id=1884
  22. World's Most Stunning City Skylines 13 Greatest urban silhouettes Forbes Traveler.Com What makes a skyline great? It has to be more than merely memorable, it must have some exceptional characteristics: It not only should be instantly recognizable but, from the traveler’s perspective particularly, it should be an enticing view of great buildings and monuments. If it’s really special, you want to be a part of it. So we’ve asked a group of star architects to help us make the choices. See our slideshow of World's Most Stunning City Skylines. It’s no surprise that New York’s skyline is mentioned the most often—and this despite the dolorous replacement of the Twin Towers with Ground Zero. A single iconic building can make a skyline stand out, as can geography, and New York City is a case study for both. According to Peter Stamberg and Paul Aferiat, partners in Stamberg Aferiat Architecture in New York, the city’s great skyline “is partly a result of Manhattan being a long narrow island, maximizing the impact. And the agglomeration of New York skyscrapers has as its centerpiece the Empire State Building, which is such an iconic romantic building, and through the accidents of economics and zoning, it stands alone.” They architects also cite Chicago as a city of great architectural monuments and major iconic skyscrapers like the Sears Tower. But while the great race for height in which Chicago and New York were longtime contestants has largely shifted overseas, the vertical element in skylines still figures prominently across the board. “The image of a city in the 21st century still depends on the skyscraper idea,” says Andres Lepik, architecture and design curator at The Museum of Modern Art in New York City and author of the book Skyscrapers. “City governments know that the economy is pushing forward to gave high-rise buildings in city centers.” Examples? Lepik says London and Frankfurt are standouts. Still, high-rises are not a prerequisite for a great skyline. “City skylines aren’t necessarily defined by skyscrapers,” say Aferiat and Stamberg. “There’s Sydney with its Opera House, for example, which defines the city, St. Louis with the arch,” they add, “and Seattle has the Space Needle.” For that matter, we’ll always have Paris, which thanks to its concentration of historic slate gray-roofed six and seven-story buildings, many of which date from the mid-19th century and before, has a remarkably uniform and distinct skyline. Most architects would agree that a great skyline takes time to develop. “A skyline is something that comes up and comes together and somehow it’s unplanned,” Lepik says. “If you go to Shanghai right now, there are hundreds of skycrapers but they don’t form any really beautiful skyline,” he adds. By contrast, he says, “New York had a certain slow development, which sped up in the 1920s and ‘30s with the Art Deco skyscrapers such as the Chrysler Building and Empire State—but it took 30 years to get the coherent skyline.” What of a future-forward city like Dubai? “I wouldn’t call Dubai’s skyline beautiful,” says Lepik, “because it has grown too fast, without a general idea of what they’re trying to achieve.” But if there is beauty in boldness, Dubai has an incontestably sensational skyline in progress: It started with the erection of the 1,053-foot-tall Burj al Arab Hotel in 1999, a “seven-star” hotel on an artificial island and complete with helicopter landing pad. And soon it will have the tallest skyscraper in the world: the 1,900-foot Burj Dubai tower. Financial crisis or not, more brash towers are in the works for the desert sheikdom. It’s hard to beat Asian tigers like Hong Kong for urban audacity, but our round-up of great skylines holds some surprises, such as… Pittsburgh? Indeed. The city is “right at the intersection of three fairly large rivers, and you approach it through a mountain tunnel, so you arrive completely deprived of a view—and then you’re on a bridge looking at the city,” say Stamberg and Aferiat. “It’s very beautifully proportioned the way it starts fairly low at the river and then climbs to the U.S. Steel building, which is the tallest one there.” As for Europe, it’s not just about historical aesthetics—modernity is moving in. In his book on skyscrapers, Lepik features two Frankfurt towers, one designed by Norman Foster. Cities like London and Paris increasingly represent a mixture of old and new in which traditional icons mingle memorably with new visions of star architects like Jean Nouvel and Renzo Piano. By accident or by design, the result is urban landscapes even more compelling for today’s travelers to discover and explore.
  23. Urban design: we are falling behind Montreal seems to be lacking ambition when it comes to architectural statements By Luca L. Barone June 26, 2012 Read more: http://www.montrealgazette.com/business/Urban+design+falling+behind/6838583/story.html#ixzz22o4Z0new In 2009, New York City converted an old elevated railroad on the west side of Manhattan into a park of ingenious design. The High Line is a triumph of civic engagement and urban planning. The park’s brilliant designers, the architectural firm Diller Scofidio + Renfro, recently unveiled exciting plans for the High Line’s final section. Why is my own city, so rich in history and creativity, lacking similarly enchanting public spaces, and treading water when it ought to be steaming forward? A city as difficult to govern as New York has accomplished this extraordinary feat, while Montreal seems stuck with meagre ambitions and unimaginative leadership – not to mention the blight of festering corruption. Parsimonious rather than provident, we end up with oppressive mediocrity in our built environment. Too much of that environment is neither inspiring nor graceful. To quote Samuel Butler: O God, O Montreal! This is not a question of green space; Montreal is full of parks. The High Line embodies an innovative approach to the adaptive reuse of urban structures that integrates environmental and economic sustainability, historic preservation, and creativity in design. It is an approach to urban planning that is not yet evident in our city. Montreal exhibits some of the best and worst aspects of Europe and North America. Neither genuinely French, nor British, nor American, our city is a fascinating hybrid with an eclectic beauty made up of unusual juxtapositions drawn from both the Old and New Worlds. Yet we inhabit a purgatory somewhere between Houston and Paris, afflicted by car-fuelled urban sprawl along with imported European architectural inhumanities like the brutalism of Place Bonaventure. We need to regain our lost cosmopolitan ambition, that sense of limitless opportunity combined with cultural sophistication that makes things happen that has not been seen in Montreal since the glory days of Expo 67, the opening of our pioneering métro, and the 1976 Summer Olympics. The High Line’s greatest lesson for us should be how profoundly constructive the convergence of proactive civic participation, business and excellent design can be. By adopting the Plan métropolitain d’aménagement et de développement, a comprehensive urban planning scheme that emphasizes transit-oriented development, the Montreal Metropolitan Community has taken a step in the right direction. It has wisely heeded Harvard economist Edward Glaeser’s advice to increase population density around transit hubs. But builders and architects need the liberty to be bold. Development in Montreal is in a negative recursive loop: a byzantine bureaucracy imposes its banal tastes on those taking the financial risk on real-estate ventures, while many developers lack the aesthetic judgment or the civic pride to take on the challenge of building something of lasting architectural value. New York’s Standard Hotel was built suspended over the High Line on massive piers – an unconventional ensemble that has created a remarkably attractive, unique sense of place. Had such an idea been proposed for Montreal, would it ever have seen the light of day? That kind of audacity would probably have been ignored by developers indifferent to innovative design, or buried under the weight of municipal red tape. Encouraging local talent and participating in international cultural life are both important. Montreal fails on both counts. Little of note has been built in Montreal for decades, with the exception of Kohn Pedersen Fox’s IBM building at 1250 René Lévesque Blvd. – and that was in 1992. Ludwig Mies van der Rohe’s Westmount Square, I.M. Pei’s Place Ville Marie, Pier Luigi Nervi’s Tour de la Bourse – these are all buildings from the past that garnered the city positive attention and allowed Montreal to participate in a broader international cultural life. Peter Zumthor, Steven Holl, SHoP Architects, Diller Scofidio + Renfro, Renzo Piano – none of these leading contemporary architects are now on their way to Montreal. Montreal may never be New York or Paris, or build projects on the same scale as these global centres, but it was once closer to being a world city than it is today. Size is not the issue; another sinkhole of public funds like the Olympic Stadium would do us no good. We need civic competence, wise economic policy, and architectural excellence. Surely all are within our reach. One upcoming project stands out as a chance for Montreal to redeem itself. The rebuilding of the Champlain Bridge is an epochal opportunity to create an impressive monument for today’s Montreal. People marvelled at the Victoria Bridge when it was completed in 1859. In the early 21st century, we can again dazzle the world, with an elegant new Champlain Bridge built to exacting international standards. Mayor Gérald Tremblay has already said the federal government should devote one per cent of the project’s total budget to finding an innovative design for the bridge, just as the provincial government has set aside one per cent of the Turcot Interchange’s reconstruction budget to generating new ideas. Ottawa should hold an international competition judged by a jury of global experts to choose an outstanding design for the new Champlain Bridge. All Montrealers should support this initiative to ensure that we end up with a work of public infrastructure that is worthy of our city. Let’s do great things together again. Luca L. Barone of St. Léonard is a McGill University law student and a developer. He studied at New York’s Institute for Architecture and Urban Studies. CORRECTION: An Opinion column in Tuesday’s Gazette, headlined “Urban design: we are falling behind,” which made mention of New York City’s High Line park, failed to mention one of the two firms that were partners in the design of that park. The designers were landscape-architecture firm James Corner Field Operations and architectural firm Diller, Scofidio + Renfro. © Copyright © The Montreal Gazette Read more: http://www.montrealgazette.com/business/Urban+design+falling+behind/6838583/story.html#ixzz22o4dmlEb
  24. Les prix d'architecture au Royaume Uni, 2010 Royal Institute of British Architects