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Found 87 results

  1. Etant Français résidant dans votre beau pays depuis plusieurs années, je propose ce fils de discussion et de suivi sur ce qu offre l Hexagone en matière d architecture passée, présente et futur.
  2. https://www.ledevoir.com/opinion/idees/549300/l-urgence-climatique-et-la-crise-de-l-architecture L’urgence climatique et la crise de l’architecture Antoine Mathys Architecte à L’Abri 7 mars 2019 Il ne passe plus une journée sans que les médias nous parlent d’urgence climatique ou de crise du réchauffement climatique, au point que ces mots semblent se vider de leur sens. C’est vrai, dans le fond, que ça fait bien au moins 50 ans qu’on en parle… Le problème, il me semble, est que ces mots ne s’inscrivent dans aucun récit qui fasse sens pour nous. Mais quel est le rôle de l’architecture dans cette crise ? Que dit-on à travers nos constructions qui représentent 46,8 milliards de dollars d’investissements au Québec ? Pour la majorité des gens, l’architecture s’est en grande partie enfermée dans une tour d’ivoire et ne semble plus être qu’un vaste cabinet de curiosités, où tout se vaut plus ou moins et se fond dans le tissu urbain. Au-delà de l’indifférence, une méfiance envers les architectes semble s’être développée dans certains milieux. La crise climatique est l’occasion de remettre notre rôle en question. Selon l’écrasant consensus scientifique relayé par le Pacte pour la transition, « il est technologiquement, humainement et économiquement possible de limiter le réchauffement de la planète. La solution passe par la volonté politique ». Or le gouvernement Couillard avait fixé comme objectif de parvenir à une réduction de 20 % des émissions de GES en 2020 et de 37,5 % en 2030, même si en 2016 ces émissions n’avaient reculé que de 9,1 % par rapport à celles de 1990. Et dire que le secteur du bâtiment au Québec représente 30 % de la consommation totale d’énergie et 12 % des émissions de GES ! Bien sûr, les architectes ne sont pas les uniques responsables de ce bilan, mais ne sommes-nous pas parmi les mieux placés pour voir à la réhabilitation du bâti existant et à ce que les nouvelles constructions contribuent à nos ambitions collectives en matière de lutte contre les changements climatiques ? Il est temps pour l’architecture d’entrer dans le XXIe siècle. Il est temps pour les architectes de se responsabiliser, et d’enfin travailler de concert avec les donneurs d’ouvrage, les ingénieurs, les universitaires, les constructeurs, les groupes communautaires et les citoyens usagers pour tenter de répondre de manière adéquate à l’urgence climatique. Aujourd’hui, plus que jamais, nous comprenons qu’un bâtiment n’est qu’une interface, une zone d’échanges que nous devons mieux contrôler pour protéger les écosystèmes naturels et humains dans lequel il s’intègre. Nous pensons encore nos bâtiments comme autant de petites frontières avec le monde, gagnées à grands coups de défrichage et d’extraction, au prix d’un immense gaspillage. Le plan d’action fédéral en matière de lutte contre les changements climatiques prévoit l’adoption d’un code énergétique, avec un objectif « prêt à la consommation énergétique nette zéro » pour les bâtiments neufs d’ici 2030, et l’atteinte de la carboneutralité d’ici 2050. Parallèlement, on entend souvent dire dans les cercles de construction que notre label écoénergétique québécois Novoclimat est le prochain code et que nous devrions tous minimalement construire selon ce programme. Le hic, c’est que le prochain code, c’est demain ! Littéralement l’année prochaine. Est-ce réaliste de penser atteindre notre objectif de carboneutralité avec de si faibles mesures ? Peut-on réellement se contenter de construire en faisant (un peu) moins (de) mal qu’un bâtiment construit selon le code actuel ? Une nouvelle génération d’architectes préconise une approche intégrée à la conception architecturale qui ne peut être sortie du contexte de l’horizon de la carboneutralité. Et cette approche a déjà près de trente ans ! C’est le label d’efficacité énergétique international bâtiment passif. Il représente ce qui se fait de mieux pour l’atteinte d’une réelle efficacité énergétique, unique voie responsable vers des bâtiments à consommation « nette zéro ». La beauté de la norme passive est qu’elle commande des réponses hautement créatives et s’appuie sur une approche collaborative de la conception à la réalisation. Même les détracteurs de l’adoption du standard passif au Québec admettent que les surcoûts liés à ce type de constructions diminuent radicalement dès la deuxième itération, passant de 30 % à parfois 15, voire 10 % de surcoûts par rapport à une construction standard. Faire les choses la première fois et à petite échelle va toujours coûter plus cher, mais ce n’est pas une raison pour jeter l’éponge ! Dans le domaine de la construction, comme dans les autres secteurs clés de l’économie — l’énergie, les transports, l’agriculture —, les « petits pas » sont non seulement inutiles, mais carrément contre-productifs. Des dizaines de bâtiments passifs ont déjà été construits au Québec, dont deux sont certifiés. Nous nous devons aujourd’hui de rénover et de construire enfin à la mesure de nos connaissances si nous voulons avoir la moindre chance de dévier de notre trajectoire suicidaire. Construire mieux, c’est aussi innover dans notre manière de vivre — toujours chercher à tisser des liens plus riches entre l’humain et son environnement, et inventer des formes nouvelles de cohabitation. N’est-ce pas précisément le rôle que devrait jouer l’architecte dans la société ? L’adoption à grande échelle de la norme passive est l’occasion pour l’architecture de reprendre sa place parmi les grands enjeux de société et de sortir enfin la création architecturale de sa tour d’ivoire pour l’ancrer dans l’urgence de notre époque. ---------------------------------------------------------------------------------- Chronique de Marc-André Carignan à ce sujet https://ici.radio-canada.ca/premiere/emissions/le-15-18/segments/chronique/109006/architecture-batiments-vert-environnement-maison-developpement-durable À quand des bâtiments écologiques (pour vrai)? PUBLIÉ LE JEUDI 7 MARS 2019 Le chroniqueur et architecte Marc-André Carignan se demande quand le Québec prendra un véritable virage écologique dans son secteur immobilier. Il déplore que l'on parle beaucoup d'environnement dans le milieu du bâtiment, mais que peu de gestes concrets soient posés. Depuis les dernières années, on voit de plus en plus de projets à caractère écologique, observe Marc-André Carignan. Mais en réalité, souvent, ce n’est qu’un vernis, soutient-il. Il précise que moins de 5 % des bâtiments sont certifiés écologiques au Québec. Le chroniqueur déplore que l'environnement soit trop souvent mis de côté au moment de concevoir un projet architectural. Il donne l’exemple de la place Ville-Marie, à Montréal, qui a annoncé l’aménagement d’une toute nouvelle aire de restauration dotée d’un toit en verre, sans prendre en considération les pertes de chaleur que cela va engendrer. J’ai même parlé à des architectes qui ont travaillé sur ce projet qui m’ont dit qu’ils étaient gênés de présenter ça au public, mais que c’était ce que leur client voulait, raconte-t-il. Marc-André Carignan fait remarquer que les obstacles sont nombreux à l’adoption de techniques de construction plus écologiques. Non seulement il est toujours difficile de changer les habitudes dans ce milieu, puisque le changement représente un risque, mais certains promoteurs craignent aussi de se lancer dans la construction verte, car ils n’ont pas d’expertise dans ce domaine. Marc-André Carignan s’est d’ailleurs fait dire par un promoteur que son premier projet certifié LEED l’avait plongé dans le rouge. Le chroniqueur mentionne que les bâtiments écologiques coûtent entre 10 % et 12 % de plus à construire, mais qu'il est généralement possible de rentabiliser cet investissement à long terme grâce aux économies d’énergie. Dans le secteur public, comme les écoles, on devrait assumer ce coût supplémentaire parce qu’on n’a pas la pression d’entrer tout de suite dans notre investissement, pense Marc-André Carignan. Il insiste sur le fait que pour entreprendre un véritable virage, tout le monde doit revoir son approche : les architectes, les clients, les promoteurs, mais aussi le gouvernement, qui peut élever les standards du code du bâtiment.
  3. Plus d'une cinquantaine d'opinions sur des sujets diverses déjà publiés Voir ce lien: http://www.ledevoir.com/opinion/blogues/le-blogue-urbain Le blogue urbain explore la ville comme espace de vie, autour de différents thèmes: transports, vélo, architecture, aménagement, étalement urbain, patrimoine. Un blogue collectif, écrit par des journalistes du Devoir passionnés de vie urbaine.
  4. http://maison.lapresse.ca/habitation/immobilier/201404/04/01-4754498-condos-abordables-pour-familles-audacieuses.php Merci à elephant pour la référence.
  5. https://saportareport.com/tim-keane-to-atlanta-no-more-ugly-buildings-focus-on-quality-design/ Tim Keane to Atlanta: No more ugly buildings; focus on quality design December 17, 2018, 3:40 pm/24 Comments By Maria Saporta When it comes to urban design, it’s a new day for Atlanta. Atlanta’s Planning Commissioner Tim Keane wants our developers and architects to step up their game. And he’s willing to hold up their projects if they don’t live up to higher quality design standards. Planners Tim Keane and Terri Lee look over the watercolor depiction of how Atlanta can grow and retain its beauty (Photo by Maria Saporta) Already the developers of three high profile projects have revised their plans to accommodate the city by improving the plans for their developments. For Keane, this is not a job; it’s a mission to create greater awareness of the importance of quality design on our urban environment. “People in Atlanta don’t value design,” Keane said in a recent interview. “It’s a huge problem. I feel like people here think design is frivolous. But it is fundamental to making a better life for people.” Keane moved to Atlanta nearly three years ago after serving as the planning commissioner for the City of Charleston, S.C. “It was a big change for me coming from Charleston where design was seen as contributing to a better life for residents. We cared about every detail,” Keane said. “In Charleston, there was a three-step design review process to get a building approved. It was too much. Charleston was so over the top, but Atlanta is on the opposite end of the spectrum.” So Keane is changing Atlanta’s laissez-faire approach and emerged as a good cop (or bad cop) insisting on quality design for projects that land on his desk. “I have started to say: ‘You can’t build that. You can’t build insulting buildings in Atlanta anymore,’” Keane said. “This is not about architecture and architectural awards. It is more how architecture contributes to a better public realm.” Initial design for the 445 Marietta St. building (Special: City of Atlanta) The revised design for a building at 445 Marietta St. Notice how the building incorporates an historic building in the lower right corner (Special: City of Atlanta) It is his attempt to stop the development of “Mr. Potatohead” buildings – structures where architects add different design features to try to make an ugly building better. Keane would rather architects start out with a simple building design with high quality materials and amenities. As the law currently stands, the city of Atlanta would have a hard time enforcing a design standard. And Keane acknowledges the city is not authorized to mandate good design. But he has told developers that the city won’t approve a project unless they change the architecture. Developers could take the city to court, but that would cost time and money. So far, developers have been willing to work with the city to redesign their buildings in order to get the project moving. Eventually, Keane hopes developers will know to incorporate quality design principles before they bring their proposals to the city. “The main point is that design is not a frivolous endeavor,” Keane said. “It is integral to a city’s development.” Keane did acknowledge that quality design can be in the eyes of the beholder – and he is not advocating for classical or modern design. “We are going to be advocates for a better public realm,” Keane said. “It’s how a building meets the street. It has to have good proportions with quality materials. It should have a balanced window to wall ratio that fit in with the overall composition of the building. “Everything has to be done well – designed well – no matter what your style is,” Keane said. “I’m interested in contemporary architecture, but it has to achieve the basics of good design in order to be built.” One area where Keane does not have a lot of room for compromise is historic preservation. “I think Atlanta has enough old buildings that if we save them, we still have enough fabric to build around them and make a distinct city,” Keane said. “What we are struggling with is the quality of the new buildings that fall around the historic buildings. So far we haven’t been able to build to consistent design quality buildings that stand up to the test of time.” 640 Peachtree St. – initial design for the hotel at the important Ponce de Leon Avenue intersection (Special: City of Atlanta) Revised design for 640 Peachtree St. hotel project (Special: the City of Atlanta) Historically, Atlanta has let zoning laws regulate urban development (the city has been revamping its zoning ordinances with several new rules passing the Zoning Review Board on Dec. 13). “This is about the city taking responsibility or the quality of architecture in Atlanta. The city has relied on zoning, but zoning doesn’t make good buildings,” Keane said “Only design can do that.” The city has started having internal discussions about developing a design process that will lead to better architecture. It is working on how best to involve the Atlanta Urban Design Commission as well as the development review committees within certain community improvement areas. Keane said he hopes to have a new process adopted within the next year. “All of that needs to be up for refinement,” Keane said. “The saving of old buildings is job No. 1. We can never replicate the design of our old buildings.” So far, Keane has been a successful good design cop – especially with the three developments where he was able to influence the ultimate design. “In every one of these cases, the developers have been thrilled with the process,” Keane said. “What they got was so much better.” It’s only been a little more than three years since Keane came to Atlanta – and he can best be described as a change agent. He worked with Ryan Gravel to have the city adopt the Atlanta City Design Project – which outlined ways the city could increase its population while improving its quality of life. He has been working on a host of institutional changes – the zoning ordinance, a new tree ordinance, an urban ecology framework plan, a more pedestrian-oriented transportation plan and now better design standards. In Keane’s mind, we can’t look at the city in silos. We need to integrate all the various urban amenities so they create a balanced, equitable city that respects our unique history and location. That includes affordability, transit, accessibility, quality design, historic preservation, protection of high value trees as well as making sure residents have ample opportunities to be involved in the evolution of Atlanta. 524 West Peachtree at Baltimore Row. The image shows the initial plans on the left and the revised design on the right (Special: City of Atlanta) This is one of my favorite examples of a modern building respecting the historic fabric of its neighbor: Photo shows the addition to the Boston Public Library that opened in 1972. The addition was designed by architect Philip Johnson, who used design motifs from the historic library (Special: Boston Library)
  6. J'ai cru rêvé en entendant la présidente de la CSDM Catherie Harel-Bourdon dire qu'elle allait présenter une résolution ce soir au conseil des commissaires pour permettre des concours d'architecture dans la construction et l'agrandissement des écoles!! ? Elle était en entrevue avec Annie Desrochers cet arpès-midi à ce sujet : Résolution de la CSDM pour permettre des concours d'architecture pour les écoles https://ici.radio-canada.ca/premiere/emissions/le-15-18/episodes/407799/audio-fil-du-mercredi-23-mai-2018/3 L'architecture Pierre Thibault a souvent dit que son rêve était de construire une école, mais qu'il ne pouvait parce qu'il en avait jamais fait avant.. Cet article du Journal de Montréal a bien résumé ses propos recueillis lors d'une entrevue avec Infoman : http://www.journaldemontreal.com/2015/04/05/a-quand-une-ecole-pierre-thibault « La question qu’Infoman a posée à Pierre Thibault : À quand une école construite par lui au Québec? Sa réponse : « Cela est Impossible parce que pour avoir le droit de construire une école, il faut déjà en avoir construit une avant. » Et vous savez quoi, une école construite d’après des dessins d’architecte ne coute que 1% plus cher. »
  7. Le Bourg De Rouan 20/09/2009 Projet pratiquement terminé. Une architecture et un style de vie avant-gardistes ! Ce magnifique projet est situé à proximité d’une station de métro et de nombreux services et attraits dont le Parc Maisonneuve, le Parc olympique, le Biodôme, le Jardin botanique, le Marché Maisonneuve, l’aréna Maurice Richard, le stade de soccer de l’Impact et le complexe de cinémas Star-Cité, au cœur du quartier Ho-Ma, un secteur en pleine ébullition qui regorge d’espaces verts. Ce projet se distingue par son architecture moderne et artistique pour laquelle chaque unité bénéficie d’un balcon avec espace de rangement privé. De plus, grâce aux conseils gratuits de nos spécialistes en décoration intérieure, vous pourrez faire tous vos choix de finis lors de votre visite à notre Centre de Design Samcon, unique à Montréal. Notez que ce projet se qualifie pour le programme de subventions de la Ville de Montréal. Caractéristiques Prix : à partir de 162 900$ (taxes incl.) Nombre d’unités : 40 Types d’unités : 4 ½ & 5 ½ Superficies : 762 à 903 pi² Stationnements : extérieurs optionnels Livraison : immédiate Transports : métro Pie-IX et Viau http://www.samcon.ca/main+fr+04_120+Le_Bourg_De_Rouen_detail.html?ProjetID=83
  8. http://journalmetro.com/opinions/paysages-fabriques/466194/wake-up-call/ <header id="page-header" style="color: rgb(135, 135, 135); font-family: Arial, Helvetica, sans-serif; font-size: 13px; line-height: 16.003000259399414px; position: relative !important;">19 mars 2014 Wake-up call </header><article class="primary-article" style="margin-bottom: 25px; color: rgb(102, 102, 102); font-size: 15px; line-height: 1.8em; font-family: adelle, Adelle, Georgia, serif;"><figure style="display: inline-block; margin: 0px; max-width: 100%; box-sizing: border-box; padding: 6px; position: relative; border: 1px solid rgb(227, 227, 227) !important;"><figcaption style="background-color: rgba(0, 0, 0, 0.8); bottom: 0px; box-sizing: border-box; color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 12px; left: 0px; line-height: 1.4; border-style: solid; border-color: rgb(255, 255, 255); border-width: 0px 6px 6px; padding: 10px; position: absolute; width: 618px;">ACDFMaxime-Alexis Frappier, lauréat du Prix du Jeune Architecte 2013</figcaption></figure> Un banal appel peut parfois donner lieu à un véritable cri du cœur. C’est ce qui m’est arrivé lundi dernier avec l’architecte Maxime-Alexis Frappier qui, visiblement, avait besoin de sortir le méchant. Banalité. Horreur. Inexcusable. Le lauréat du Prix du Jeune Architecte 2013 de l’Institut royal d’architecture du Canada ne mâche pas ses mots lorsque vient le temps d’analyser le développement urbain de la métropole. Comment en est-on arrivé à cette discussion? Je lui ai simplement posé la question suivante: «A-t-on peur de la couleur en architecture à Montréal? Il me semble qu’on ne voit que de la brique grise, beige et rougeâtre, du verre et du béton dans les grands projets réalisés ces dernières années.» Il n’en fallait pas plus pour faire exploser la bombe à retardement qui sommeillait en lui. Mon appel, qui ne devait durer que 10 minutes, s’est finalement étiré sur presque une heure. «La couleur, pour moi, ça fait partie de l’audace et de la créativité, s’exclame-t-il. On est tellement rendu craintif au Québec. On est en train de devenir beiges. […] On n’exige même plus de qualité et de créativité dans les appels d’offres. On veut uniquement des architectes capables de gérer un budget et un échéancier!» Pour M. Frappier, même si les bons coups se multiplient [notamment grâce aux concours d’architecture], les occasions manquées ne se comptent plus. L’OSM, le nouveau CUSM, les tours à condos du centre-ville. On multiplie les chantiers sans se demander si ces projets contribueront à améliorer notre qualité de vie et à susciter un sentiment de fierté pour notre ville. «Les gros investisseurs, incluant le gouvernement, ne s’interrogent pratiquement plus sur la firme d’architecture derrière les projets de 100 ou 150M$, s’étonne-t-il. On se soucie à peine de savoir si l’architecte est en mesure de créer une plus-value à l’investissement, s’il va concevoir un projet unique.» «Le fait de voir de bons projets autour de nous, c’est ça qui nous réveille en tant qu’architecte, en tant que société.» – Maxime-Alexis Frappier, lauréat du Prix du Jeune Architecte 2013 Maxime-Alexis Frappier va même jusqu’à observer un certain recul en matière d’architecture et de design urbain au Québec, en comparaison des autres provinces canadiennes. «J’étais juré pour les prix en architecture du gouverneur général du Canada, m’explique-t-il. Il y avait 150 projets sur la table et je suis sorti de là déçu. Ça bouge ailleurs au pays. Pourquoi pas au Québec? Wake up! Il faut pouvoir mettre en valeur notre talent.» Pour lui, il faut absolument briser le mythe que les beaux et bons designs coûtent une fortune. «Ce n’est pas vrai, affirme l’architecte. On peut faire des projets bien équilibrés, durables et novateurs qui ne coûtent pas plus cher que ce que l’on fait actuellement. Il faut juste vouloir le faire.» Ce changement de mentalité [déjà amorcé, selon lui] passe avant tout par les projets gouvernementaux, les bâtiments parapublics et les institutions scolaires. Le privé suivra instinctivement. «Le fait de voir de bons projets autour de nous, c’est ça qui nous bouscule en tant qu’architecte, en tant que société. Autrement, on s’endort. On tombe dans la facilité. Il est temps qu’on se réveille.» Projet phare à surveiller, selon M. Frappier: le cinquième pavillon du MBAM /Architectes: Manon Asselin et Jodoin Lamarre Pratte </article>
  9. Article intéressant dans le NYMAG : The Psychological Cost of Boring Buildings By Jacoba Urist April 12, 2016 10:56 a.m. <cite class="credit">Photo: Philip Laurell/Getty Images </cite>New Yorkers have long bemoaned their city being overrun by bland office towers and chain stores: Soon, it seems, every corner will either be a bank, a Walgreens, or a Starbucks. And there is indeed evidence that all cities are starting to look the same, which can hurt local growth and wages. But there could be more than an economic or nostalgic price to impersonal retail and high-rise construction: Boring architecture may take an emotional toll on the people forced to live in and around it. A growing body of research in cognitive science illuminates the physical and mental toll bland cityscapes exact on residents. Generally, these researchers argue that humans are healthier when they live among variety — a cacophony of bars, bodegas, and independent shops — or work in well-designed, unique spaces, rather than unattractive, generic ones. In their book, Cognitive Architecture: Designing for How We Respond to the Built Environment, Tufts urban policy professor Justin Hollander and architect Ann Sussman review scientific data to help architects and urban planners understand how, exactly, we respond to our built surroundings. People, they argue, function best in intricate settings and crave variety, not “big, blank, boxy buildings.” Indeed, that’s what Colin Ellard, a neuroscientist at the University of Waterloo and director of its Urban Realities Laboratory, has found in his own work. Five years ago, Ellard became interested in a particular building on East Houston Street — the gigantic Whole Foods “plopped into” a notoriously textured part of lower Manhattan. As described in his book, titled Places of the Heart: The Psychogeography of Everyday Life, Ellard partnered with the Guggenheim Museum’s urban think tank to analyze what happens when someone “turns out of a tiny, historic [knish] restaurant” and encounters a full city block with nothing but “the long, blank façade of the Whole Foods Market.” The Whole Foods on Houston. In 2011, Ellard led small groups on carefully planned Lower East Side walks to measure the effect of the urban environment on their bodies and minds. Participants recorded their response to questions at each stopping point and wore sensors that measured skin conductance, an electrodermal response to emotional excitement. Passing the monolithic Whole Foods, people’s state of arousal reached a nadir in Ellard’s project. Physiologically, he explained, they were bored. In their descriptions of this particular place, they used words like bland, monotonous, and passionless. In contrast, one block east of the Whole Foods on East Houston, at the other test site — a “lively sea of restaurants with lots of open doors and windows” — people’s bracelets measured high levels of physical excitement, and they listed words like lively, busy, and socializing. “The holy grail in urban design is to produce some kind of novelty or change every few seconds,” Ellard said. “Otherwise, we become cognitively disengaged.” The Whole Foods may have gentrified the neighborhood with more high-quality organic groceries, but the building itself stifled people. Its architecture blah-ness made their minds and bodies go meh. And studies show that feeling meh can be more than a passing nuisance. For instance, psychologists Colleen Merrifield and James Danckert’s work suggests that even small doses of boredom can generate stress. People in their experiment watched three videos — one boring, one sad, and one interesting – while wearing electrodes to measure their physiological responses. Boredom, surprisingly, increased people’s heart rate and cortisol level more than sadness. Now take their findings and imagine the cumulative effects of living or working in the same oppressively dull environs day after day, said Ellard. There might even be a potential link between mind-numbing places and attention deficit hyperactivity disorders. In one case, physicians have linked “environmental deprivation” to ADHD in children. Homes without toys, art, or other stimuli were a significant predictor of ADHD symptoms.Meanwhile, the prevalence of U.S. adults treated for attention deficit is rising. And while people may generally be hardwired for variety, Dr. Richard Friedman, director of the pharmacology clinic at Weill Cornell Medical College, makes the case that those with ADHD are especially novelty-seeking. Friedman points to a patient who “treated” his ADHD by changing his workday from one that was highly routine — a standard desk job — to a start-up, which has him “on the road, constantly changing environments.” Most ADD is the result of biological factors, said Dr. Edward Hallowell, a psychiatrist who specializes in ADHD, and co-authored numerous books on the subject, such as Delivered From Distraction: Getting the Most Out of Life With Attention Deficit Disorder. But, he explained, he sees a lot of socially induced ADD, too, a form of the disorder that makes it appear as though you inherited the genes, although you really haven’t. And one way you might have the socially induced condition, according to Hallowell, is to suffer severe boredom or live in a highly nonstimulating environment. “It makes total sense that for these people changing where they work or live to add more visual stimulation and daily variety could be extremely helpful,” Hallowell said. At the same time, many adults may feel they have ADHD because the world has become hypersaturated with constant texts, emails, and input. For them, life has become too adrenalizing. “They don’t have true ADHD,” Hallowell said, “but, rather, what I call a severe case of modern life.” So the trick, it seems, is to design a world that excites but doesn’t overly assault our faculties with a constant barrage of information: Scientists aren’t proposing that all cities look like the Vegas strip or Times Square. “We are, as animals, programmed to respond to thrill,” said professor Brendan Walker, a former aerospace engineer and author of Taxonomy of Thrill and Thrilling Designs. In Walker’s University of Nottingham “thrill laboratory,” devices gauge heart rate and skin conductance to see how people respond to adrenaline-producing experiences such as a roller-coaster ride. And he’s reduced “thrill” to a set of multivariable equations that illustrate the importance of rapid variation in our lives: A thrilling encounter moves us quickly from a state of equilibrium to a kind of desirable “disorientation,” like the moment before you rush down the hill of a roller coaster. “Humans want a certain element of turmoil or confusion,” he said. “Complexity is thrilling whether in an amusement park or architecture.” Environmental thrill and visual variety, Walker believes, help people’s psyche. As many of us instinctively feel a wave of ennui at the thought of working all day in a maze of soulless, white cubicles, blocks of generic buildings stub our senses. It’s not only that we’re genetic adrenaline junkies. Psychologists have found that jaw-dropping or awe-inspiring moments — picture the exhilarating view of the Grand Canyon or Paris from the Eiffel tower — can potentially improve our 21st-century well-being. One study showed that the feeling of awe can make people more patient, less materialistic, and more willing to help others. In an experiment, researchers showed students 60-second clips of waterfalls, whales, or astronauts in space. After only a minute of virtual images, those who said they were awed also felt less pressed for time. In a second experiment, individuals recalled “an awe-inspiring” event and then answered a range of survey questions; they were also more likely to say they’d volunteer for a charity, as compared to those who hadn’t spent time thinking about a past moment of awe. And in yet another variation, people made hypothetical choices between material and experiential goods of equal monetary value: a watchor a Broadway show, a jacket or a restaurant meal. Those who recently “felt awe” were more likely to choose an experience over a physical possession, a choice that is linked with greater satisfaction in the long run. In other words, a visual buzz — whether architectural or natural — might have the ability to change our frame of mind, making modern-day life more satisfying and interactive. It’s important to note, however, that architectural boredom isn’t about how pristine a street is. People often confuse successful architecture with whether an area looks pleasant. On the contrary, when it comes to city buildings, people often focus too narrowly on aesthetics, said Charles Montgomery, author of Happy City: Transforming Our Through Urban Design. But good design is really is about “shaping emotional infrastructure.” Some of the happiest blocks in New York City, he argues, are “kind of ugly and messy.” For instance, Ellard’s “happier” East Houston block is a “jumbled-up, social one”— the Whole Foods stretch, in comparison, is newer and more manicured. Sometimes what’s best for us, Montgomery explained, just isn’t that pretty. His research also shows cacophonous blocks may make people kinder to each other. In 2014, Montgomery’s Happy City lab conducted a Seattle experiment in which he found a strong correlation between messier blocks and pro-social behavior. Montgomery sent researchers, posing as lost tourists, to places he coded as either “active façades” — with a high level of visual interest — or “inactive façades” (like long warehouse blocks). Pedestrians at active sites were nearly five times more likely to offer help than at inactive ones. Of those who helped, seven times as many at the active site offered use of their phone; four times as many offered to lead the “lost tourist” to their destination. Fortunately, it’s not necessarily a dichotomy — new architecture can achieve the optimal level of cacophony and beauty. Take the 2006 Hearst Tower in midtown Manhattan. From the outside, the façade is likely to jolt city dwellers — if anything will — from their daily commutes, while “thrilling” employees who enter it each morning. Designed by Pritzker Architecture Prize–winning architect Norman Foster, Hearst Tower is a glass-and-steel skyscraper, 40 stories of which are designed in a triangular pattern contrasting the 1920s Art Deco base. For many who walk by, Hearst Tower’s design may not be the easiest to understand; it’s both sleek and old. The top looks like it traveled from the future. Inside, workers travel upon diagonal escalators, up a three-story water sculpture, through the tower’s historic atrium” flooded with light. It’s not the view from the Eiffel Tower or the Grand Canyon, but it’s probably as close a modern lobby can come to awe-inspiring. Few New Yorkers who pass by would find this building boring. And they’re likely happier — maybe even nicer to each other — because of it. <cite class="credit"></cite>
  10. ** Note aux modérateurs: je ne souhaite en aucun cas enfreindre les règles du forum, je partage un évènement que j'organise ici ** Bonjour à tous, Je participe depuis quelques années au forum, que je lis à tous les jours avec beaucoup de plaisir! Je fais partie du comité organisateur du concours d'idées Morphopolis, et nous organisons une édition en 2017 sous le thème du transport en commun à Montréal. Le thème explore toutes les facettes des lieux du transport, de l'échelle de l'objet à la planification générale des modèles de transport à Montréal. La fin des inscription est le vendredi 17 mars @ 23h00, et les prohets doivent être remis le 22 mars. Nous demandons 1 panneau format A2 (orientation portrait, 420mm x 594mm), sous la forme d'image et de croquis. Nous souhaitons surtout dégager des idées, des tendances en aménagement, ou encore des projets audacieux pour redorer l'image du transport en commun. *Tous les détails sont sur notre site morphopolis et sur notre Facebook (Morph.o.polis Montréal).* Nous avons cette année un jury très dynamque, composé de: - François Cardinal, rédacteur en chef de La Presse - Catherine Demers, Architecte Associée, Jodoin Lamarre Pratte Architectes Inc. (chargée de projet pour les projets à l'Aéroport Montréal-Trudeau) - Josée Bérubé, architecte, Provencher_Roy, présidente du CA de l'ARTM - Jonathan Cha, architecte paysagiste, urbanologue, phD en aménagement - Valérie Mahaut, professeure titulaire à l'Université de Montréal. Nous présentons également des conférences la semaine prochaines à la Faculté de l'Aménagement (2940 chemin de la Côte-Sainte-Catherine), amphithéâtre 3110: - Mardi 14 mars @ 18h00 : Zvi Leve, Rue Publique, "Les rues comme lieux de transit" - Jeudi 16 mars @ 18h00 : Maxime Frappier, ACDF* Architecture, "Architecture et Mouvement" Je sais que certains d'entre-vous avez participé l'année dernière et que certains projets ont été relayés ici. Je me permets de faire la promotion de mon évènement avec vous parce que je sais qu'il saura vous rejoindre en tant que passionnés de Montréal. Je serais très content de voir une équipe MTLURB, ou d'autres contributions à titre personnel! Il y a 2000$ à gagner en prix, dont 1 grand prix de 1000$. Vous pouvez me contacter en message privé, ou encore nous envoyer un courriel pour toute question ou inscription. Merci, et bonne chance aux futurs participants!! Simon Tremblay Responsable du jury Morphopolis 2017
  11. J ai déménagé ce fil dans Discussions Générales , mais n'arrive pas à effacer celui-ci.
  12. This building is exactly the kind of skyscraper I like. It's a good combination of windows and a sleek black material. Dare I say it's almost as good as Mies. And while I'm not a big fan of balconies, these ones blend in!I have to say, I'm very impressed. That said, I am actually starting to get tired of the kind of cookie-cutter condo architecture that is so widespread in Toronto and Vancouver. I think 20 years from now, they will wonder what they were thinking. This is an exception though. Very classy. This is what the Louis-Bohème should have been!
  13. Regarder vers devant nous fait du bien. En voici un premier exemple. Trouvé sur le blog de Marc Gauthier http://www.marcgauthier.com/blog_en/category/architecture/ In January of 2008, the History Channel proposed a contest to architects based in Washington, D.C., Atlanta and San Francisco. The purpose: to imagine what their metropolis might look like in 100 years. They had a week to come up with a concept and three hours to build a scale model. San Francisco firm IwamotoScott Architecture won the $10,000 grand prize for its entry. Their concept buried the network of infrastructures to create more surface for buildings. Furthermore, the city’s energy came from algae fields that generate hydrogen. The site of the tv channel has all the information on the contest. The winning firm posted their images on their Flickr account. http://www.history.com/minisites/cityofthefuture
  14. http://montrealgazette.com/news/local-news/good-architecture-pays-french-expert <header class="entry-header" style="margin: 0px; padding: 0px; border: 0px; font-stretch: inherit; font-size: 15px; line-height: 24px; font-family: BentonSans-Regular, Arial, Helvetica, sans-serif; vertical-align: baseline; color: rgb(0, 0, 0);">The good, the bad and the ugly: French expert assesses Montreal architecture MARIAN SCOTT, MONTREAL GAZETTE More from Marian Scott, Montreal Gazette Published on: April 13, 2016 | Last Updated: April 13, 2016 7:00 AM EDT </header><figure class="align-none wp-caption post-img" id="post-783124media-783124" itemprop="associatedMedia" itemscope="" itemid="http://wpmedia.montrealgazette.com/2016/04/montreal-que-april-6-2016-emmanuel-caille-is-an-edito.jpeg?quality=55&strip=all&w=840&h=630&crop=1" itemtype="http://schema.org/ImageObject" style="margin: 0px 0px 2em; padding: 0px; border: 0px; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; vertical-align: baseline; overflow: hidden; color: rgb(255, 255, 255); float: none;"><figcaption class="wp-caption-text" itemprop="description" style="margin: -1px 0px 0px; padding: 10px; border: 0px; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; vertical-align: baseline; zoom: 1; text-align: right; background: rgb(12, 12, 12);"> Emmanuel Calle, editor of the French architecture magazine "d'a", at the Canadian Centre for Architecture. Caille shared his thoughts on Montreal's architecture. MARIE-FRANCE COALLIER </figcaption></figure>SHAREADJUSTCOMMENTPRINT What would an international expert think of Montreal’s recent architecture? To find out, the Montreal Gazette took French architecture critic Emmanuel Caille on a walking tour of downtown and Griffintown. He also visited the $52.6-million indoor soccer stadium that opened last year in the St-Michel district. Caille, the editor of the Paris-based architecture magazine “d’a”, was in town to take part in a panel discussion last week on architectural criticism, organized by the Maison de l’architecture du Québec and the Royal Architectural Institute of Canada (RAIC). Caille’s verdict on our fair city ranged from a thumbs-up for the pricey new soccer stadium to shocked incredulity over a new hotel annex to the Mount Stephen Club, a historic mansion at 1440 Drummond St. <figure id="attachment_783141" class="wp-caption post-img size_this_image_test align-center" itemprop="associatedMedia" itemscope="" itemid="photo url" itemtype="http://schema.org/ImageObject" style="margin: 0px auto 15px; padding: 0px; border: 0px; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; vertical-align: baseline; overflow: hidden; color: rgb(255, 255, 255); float: none; max-width: 100%; width: 1000px;"><figcaption class="wp-caption-text wp-caption" style="margin: -1px 0px 0px; padding: 10px; border: 0px; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; vertical-align: baseline; zoom: 1; text-align: right; background: rgb(12, 12, 12);"> The Mount Stephen Club. DARIO AYALA / MONTREAL GAZETTE </figcaption></figure>Built from 1880-83 for Lord Mount Stephen, the first president of the Canadian Pacific Railway, it has been in the news recently after suffering structural damage during construction of the annex. Caille, an architect as well as an editor, did not comment on the structural problems, but he did give a visual assessment of the hotel addition, an 11-storey cement-panel structure tucked behind the mansion. “It’s quite brutal in the city,” he said. From de Maisonneuve Blvd., the hotel addition presents a view of three blank walls with a shed-style roof. “It’s astonishing. It’s bizarre,” he said. Caille was also perplexed by the front façade, dotted with small windows of different sizes. “What is not obvious is what relationship there is between this building and the mansion. I don’t see any,” he added. The hotel addition shows why projects should not be conceived in isolation, Caille said. City planners should have put forward a vision for the entire block, which includes an outdoor parking lot on de la Montagne St. that would have made a better site for a high rise, he said. Interesting alleyways and outdoor spaces could have been included, he said. “Everybody is turning their back to one another,” he said of how the different properties on the block don’t relate to each other. At the Ritz-Carlton hotel on Sherbrooke St., Caille said a glass condo addition completed in 2013 is a good example of how to update a historic building for modern use. But he criticized white PVC windows on the hotel’s Sherbrooke St. façade for their thick frames and mullions, which don’t suit the building. “That’s horrible,” he said. “Windows are the eyes of a building. When women use an eye pencil to emphasize their eyes, it changes everything.” <figure id="attachment_783158" class="wp-caption post-img size_this_image_test align-center" itemprop="associatedMedia" itemscope="" itemid="photo url" itemtype="http://schema.org/ImageObject" style="margin: 0px auto 15px; padding: 0px; border: 0px; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; vertical-align: baseline; overflow: hidden; color: rgb(255, 255, 255); float: none; max-width: 100%; width: 997px;"><figcaption class="wp-caption-text wp-caption" style="margin: -1px 0px 0px; padding: 10px; border: 0px; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; vertical-align: baseline; zoom: 1; text-align: right; background: rgb(12, 12, 12);"> Construction workers work on the District Griffin condo project in Griffintown. DARIO AYALA / MONTREAL GAZETTE </figcaption></figure>In Griffintown, Caille was unimpressed by the banal architecture of condo towers that have sprouted in recent years in the former industrial district, which is undergoing rapid transformation. But the former Dow Planetarium at 1000 St-Jacques St. W. caught his eye. Built in 1966, it closed in 2011. The city turned it over to the Université du Québec’s École de technologie supérieure in 2013. ÉTS announced it would transform the building into a “creativity hub” but so far the building has sat vacant. Caille said the domed landmark has great potential to be recycled for a new vocation. “When a building is dirty and dilapidated, people don’t see its beauty. You have to see the beauty underneath the neglect,” he said. Today there is a consensus that older heritage buildings should be preserved but it’s still difficult to rally public opinion behind buildings from more recent eras, like the 1960s, Caille said. <figure id="attachment_783147" class="wp-caption post-img size_this_image_test align-center" itemprop="associatedMedia" itemscope="" itemid="photo url" itemtype="http://schema.org/ImageObject" style="margin: 0px auto 15px; padding: 0px; border: 0px; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; vertical-align: baseline; overflow: hidden; color: rgb(255, 255, 255); float: none; max-width: 100%; width: 1000px;"><figcaption class="wp-caption-text wp-caption" style="margin: -1px 0px 0px; padding: 10px; border: 0px; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; vertical-align: baseline; zoom: 1; text-align: right; background: rgb(12, 12, 12);"> The 26-storey Deloitte Tower between Windsor Station and the Bell Centre. DARIO AYALA / MONTREAL GAZETTE </figcaption></figure>The Deloitte Tower, a new 26-storey glass office tower between the Bell Centre and Windsor Station, is nothing to write home about, in Caille’s opinion. “It’s developer architecture,” he said. “There’s nothing interesting about it.” Built by developer Cadillac Fairview, it is part of the $2-billion, nine-tower Quad Windsor project. That includes the 50-storey Tour des Canadiens, which will be Montreal’s tallest condo tower for about a year, until the even taller nearby L’Avenue tower is completed. Most people don’t notice the difference between good and bad architecture when a building is new, Caille said. But over time, the defects of bad buildings grow increasingly obvious, while the good ones become beloved monuments, he said. “People go to New York to see the architecture of the 1920s and 30s,” he said, referring to landmarks like the 1931 Empire State Building and 1928 Chrysler Building. “Good architecture always pays off in the long term.” Unfortunately, much development is driven by short-term considerations, he said. While a developer can walk away from a mediocre building once it’s sold, city-dwellers are stuck with it, he said. “For him, it’s no problem. But for the city, it’s a tragedy,” he said. “Today’s architecture is tomorrow’s heritage,” he noted. Caille is a strong proponent of architectural competitions, which he sees as a way to seek out the best talents and ideas. “It forces people to think and it shows that for every problem, there are many solutions. It’s a way of accessing brainpower,” he said. <figure id="attachment_783196" class="wp-caption post-img size_this_image_test align-center" itemprop="associatedMedia" itemscope="" itemid="photo url" itemtype="http://schema.org/ImageObject" style="margin: 0px auto 15px; padding: 0px; border: 0px; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; vertical-align: baseline; overflow: hidden; color: rgb(255, 255, 255); float: none; max-width: 100%; width: 1000px;"><figcaption class="wp-caption-text wp-caption" style="margin: -1px 0px 0px; padding: 10px; border: 0px; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; vertical-align: baseline; zoom: 1; text-align: right; background: rgb(12, 12, 12);"> Kids arrive at the the new soccer complex at the Complexe environnemental St-Michel. PHIL CARPENTER /MONTREAL GAZETTE </figcaption></figure>The St-Michel soccer stadium has been criticized for its high price tag but Caille hailed it as an example of excellent design. The ecological building designed by Saucier & Perrotte has three glass walls overlooking a park in the St-Michel environmental complex. Caille said the stadium could be a catalyst for improvements in the hardscrabble north-end neighbourhood. During Tuesday’s panel discussion, Paul Goldberger, a Pulitzer Prize-winning former architecture critic for the New York Times and the New Yorker, said that unlike other types of journalists, architectural critics rarely have an immediate impact on public opinion. “Architectural criticism must take a very long view,” he said. “One learns to think of one’s influence as more gradual, as shifting tastes and judgment over time.” Goldberger, author of books including Why Architecture Matters, published in 2009, has written that the critic’s job is not to push for a particular architectural style, but rather to advocate for the best work possible. He said the time in his career when architectural criticism enjoyed greatest prominence was following Sept. 11, 2001, during discussions over the rebuilding of the World Trade Center. “It was a time when architectural criticism really was, I think, front and centre in the public discourse,” he said. “There it was so clear that an issue of architecture was intimately connected to significant world affairs and one did not have to struggle to help people understand the connection between architecture and the rest of the world,” said Goldberger, who now writes for Vanity Fair and teaches at The New School in New York. In a 2011 review of the new World Trade Center for the New Yorker, Goldberger said the design by architect Daniel Libeskind “struck a careful balance between commemorating the lives lost and reestablishing the life of the site itself.” The panel discussion followed the awarding of two $1,000 prizes to young writers for architectural writing on the topic of libraries. The winning entries by Marie-Pier Bourret-Lafleur and Kristen Smith will be published respectively in Argus and Canadian Architect magazines. [email protected] Twitter.com/JMarianScott
  15. Le projet Otto Condos propose 8 unités de 1 à 3 chambres, de 610 à 1370 pieds carrés, dans le vibrant quartier de Rosemont, à Montréal. Situé à proximité de nombreux services (écoles, centres commerciaux, clinique), de parcs et à quelques pas des transports en commun, dont la station de métro Saint-Michel, le projet se démarque par son architecture mêlant l’ancien au moderne et par ses condos conçus pour respecter les attentes les plus variées. Du coquet 3 1/2 au très spacieux 5 1/2, le projet vous offre aussi des places de stationnement généreuses. Inclus : Architecture unique Stationnement extérieur Finitions haut de gamme Insonorisation supérieure Balcons Plus d'information à la page: ottocondo.com
  16. List of restaurants Hanoi provided and evaluated on EatOut.vn: 1. Pots'n Pan Restaurant Style cuisine is Pots'n Pans innovative blend of style Asian cuisine combined with modern techniques of Europe. Address: 57 Bui Thi Xuan 2. Ly Club Restaurant Situated in the city center with walking distance from Grand Opera House near Hanoi, Hoan Kiem Lake, the Sofitel Metropole, Hilton and Old City Quarter. Built in the late 19th century, the same time with the legendary Long Bien Bridge, French colonial property has undergone tremendous changes phase represents the character, history and charm of the city capital. This building is currently being redesigned style fashion and elegance with a wine cellar, cocktail bar, a gourmet restaurant and a theater. Ly Club Hanoi is a cozy, elegant, where you can forget about the outside world unrest and seeking facilities for basic senses of humans with attractive flavors of Vietnam cuisine and Western, pleasant music, ethereal scent, harmonious atmosphere and impeccable service. Address: 4 Le Phung Hieu 3. Wild Rice Restaurant At Wild Rice, we wish to invite you to feel the opposite of modern Hanoi in eating places quite serene contrast to the bustling street where there are many activities and noise, touches centuries tradition of hospitality with modern views and ambitions. Wild Rice - inspired by the sense of Hanoi to give you the flavor of contemporary Vietnamese cuisine. Address: 6 Ngo Thi Nham 4. Saigon Restaurant Unlike the two remaining restaurant, Saigon restaurant put on a calm and nostalgic with dark wood furniture with luxurious decorations in warm colors. The restaurant's chef will introduce guests to traditional Vietnamese dishes attractive, blends traditional culinary culture with modernity. Along immersed in a warm space with beautiful views of West Lake and an outdoor swimming pool, or you can also choose to observe the dishes prepared under the talented hands of chefs in the kitchen open. Address: Hotel Intercontinental Hanoi Westlake, 1A Nghi Tam 5. Restaurant Indochine 1915 Indochine 1915 is the first restaurant of the chain's restaurants Alphanam Food Corporation, which was built with the exchange of culinary culture 3 Indochina, with the arrival of European cuisine in general and France in particular cuisine the early twentieth century. Located in the heart of the capital, in 1915 Indochine carrying the breath of an origin - a land of culinary cultures that subtly elegant and luxurious, classic but cozy space with the ancient villa is Indochinese architecture, an embodiment of the French school of architecture. We hope to bring customers the meals with bold flavor Eurasian tradition through the buffet dinner at the hands and hearts of talented Chef André Bosia from France. Indochine restaurant in 1915 promises to you sincere atmosphere, warm with new experiences in each dish. Address: 33 Ba Trieu
  17. Source: Popular Mechanics When it comes to tall buildings, all eyes are on the Burj Dubai. That's because this month it became the tallest structure in the world—and it's not even done yet. But across the world architects have already come up with mega engineering plans vying to be equally mind-blowing. From shortest to tallest, here are our favorite 10 favorite skyscrapers under construction whose radical designs and eco-friendly architecture make up for a lack of height. By Kevin Hall Voir la liste: http://www.popularmechanics.com/science/extreme_machines/4282558.html?page=1
  18. J'ai eu cette idée de ssc.com. Quelle tour qui est présentement en contruction (ou recemment complétée) n'importe ou dans le monde, aimerais tu voir à Montréal? N'oubliez pas les photos! je commence le MoMa à NYC!!! Vraiment incroyable! NYC n'a vraiment pas peur de construire à l'avant garde. Il ne s'inquiètes pas des osties de NIMBY's!!! New York Times November 15, 2007 ARCHITECTURE Next to MoMA, a Tower Will Reach for the Stars By NICOLAI OUROUSSOFF A rendering of the Jean Nouvel-designed tower to be built adjacent to the Museum of Modern Art. The interior of Jean Nouvel’s building, which is to include a hotel and luxury apartments. Cass Gilbert’s Woolworth Building, William Van Alen’s Chrysler Building, Mies van der Rohe’s Seagram Building. If New Yorkers once saw their skyline as the great citadel of capitalism, who could blame them? We had the best toys of all. But for the last few decades or so, that honor has shifted to places like Singapore, Beijing and Dubai, while Manhattan settled for the predictable. Perhaps that’s about to change. A new 75-story tower designed by the architect Jean Nouvel for a site next to the Museum of Modern Art in Midtown promises to be the most exhilarating addition to the skyline in a generation. Its faceted exterior, tapering to a series of crystalline peaks, suggests an atavistic preoccupation with celestial heights. It brings to mind John Ruskin’s praise for the irrationality of Gothic architecture: “It not only dared, but delighted in, the infringement of every servile principle.” Commissioned by Hines, an international real estate developer, the tower will house a hotel, luxury apartments and three floors that will be used by MoMA to expand its exhibition space. The melding of cultural and commercial worlds offers further proof, if any were needed, that Mr. Nouvel is a master at balancing conflicting urban forces. Yet the building raises a question: How did a profit-driven developer become more adventurous architecturally than MoMA, which has tended to make cautious choices in recent years? Like many of Manhattan’s major architectural accomplishments, the tower is the result of a Byzantine real estate deal. Although MoMA completed an $858 million expansion three years ago, it sold the Midtown lot to Hines for $125 million earlier this year as part of an elaborate plan to grow still further. Hines would benefit from the museum’s prestige; MoMA would get roughly 40,000 square feet of additional gallery space in the new tower, which will connect to its second-, fourth- and fifth-floor galleries just to the east. The $125 million would go toward its endowment. To its credit the Modern pressed for a talented architect, insisting on veto power over the selection. Still, the sale seems shortsighted on the museum’s part. A 17,000-square-foot vacant lot next door to a renowned institution and tourist draw in Midtown is a rarity. And who knows what expansion needs MoMA may have in the distant future? By contrast the developer seems remarkably astute. Hines asked Mr. Nouvel to come up with two possible designs for the site. A decade ago anyone who was about to invest hundreds of millions on a building would inevitably have chosen the more conservative of the two. But times have changed. Architecture is a form of marketing now, and Hines made the bolder choice. Set on a narrow lot where the old City Athletic Club and some brownstones once stood, the soaring tower is rooted in the mythology of New York, in particular the work of Hugh Ferriss, whose dark, haunting renderings of an imaginary Manhattan helped define its dreamlike image as the early-20th-century metropolis. But if Ferriss’s designs were expressionistic, Mr. Nouvel’s contorted forms are driven by their own peculiar logic. By pushing the structural frame to the exterior, for example, he was able to create big open floor plates for the museum’s second-, fourth- and fifth-floor galleries. The tower’s form slopes back on one side to yield views past the residential Museum Tower; its northeast corner is cut away to conform to zoning regulations. The irregular structural pattern is intended to bear the strains of the tower’s contortions. Mr. Nouvel echoes the pattern of crisscrossing beams on the building’s facade, giving the skin a taut, muscular look. A secondary system of mullions housing the ventilation system adds richness to the facade. Mr. Nouvel anchors these soaring forms in Manhattan bedrock. The restaurant and lounge are submerged one level below ground, with the top sheathed entirely in glass so that pedestrians can peer downward into the belly of the building. A bridge on one side of the lobby links the 53rd and 54th Street entrances. Big concrete columns crisscross the spaces, their tilted forms rooting the structure deep into the ground. As you ascend through the building, the floor plates shrink in size, which should give the upper stories an increasingly precarious feel. The top-floor apartment is arranged around such a massive elevator core that its inhabitants will feel pressed up against the glass exterior walls. (Mr. Nouvel compared the apartment to the pied-à-terre at the top of the Eiffel Tower from which Gustave Eiffel used to survey his handiwork below.) The building’s brash forms are a sly commentary on the rationalist geometries of Edward Durell Stone and Philip L. Goodwin’s 1939 building for the Museum of Modern Art and Yoshio Taniguchi’s 2004 addition. Like many contemporary architects Mr. Nouvel sees the modern grid as confining and dogmatic. His tower’s contorted forms are a scream for freedom. And what of the Modern? For some, the appearance of yet another luxury tower stamped with the museum’s imprimatur will induce wincing. But the more immediate issue is how it will affect the organization of the Modern’s vast collections. The museum is only now beginning to come to grips with the strengths and weaknesses of Mr. Taniguchi’s addition. Many feel that the arrangement of the fourth- and fifth-floor galleries housing the permanent collection is confusing, and that the double-height second-floor galleries for contemporary art are too unwieldy. The architecture galleries, by comparison, are small and inflexible. There is no room for the medium-size exhibitions that were a staple of the architecture and design department in its heyday. The additional gallery space is a chance for MoMA to rethink many of these spaces, by reordering the sequence of its permanent collection, for example, or considering how it might resituate the contemporary galleries in the new tower and gain more space for architecture shows in the old. But to embark on such an ambitious undertaking the museum would first have to acknowledge that its Taniguchi-designed complex has posed new challenges. In short, it would have to embrace a fearlessness that it hasn’t shown in decades. MoMA would do well to take a cue from Ruskin, who wrote that great art, whether expressed in “words, colors or stones, does not say the same thing over and over again.”
  19. franktko

    NYC Boom!

    Très impressionnant, beaucoup de grande architecture et so many supertalls...
  20. The jury members are: - Melvin Charney, architect; - Odile Decq, architect and Director of the École Spéciale d'Architecture, Paris; - Jacques Des Rochers, Curator of Canadian Art, Montréal Museum of Fine Arts; - Michel Dionne, architect, Cooper, Robertson & Partners, New York; - Raphaël Fischler, urban planner and professor at the School of Urban Planning, McGill University; - Mario Masson, landscape architect and Division Manager, Service du développement culturel, de la qualité du milieu de vie et de la diversité ethnoculturelle, Ville de Montréal; - Alessandra Ponte, associate professor, School of Architecture, Université de Montréal; - Philippe Poullaouec-Gonidec, landscape architect and holder of the UNESCO Chair in Landscape and Environmental Design at Université de Montréal. Instructions for prospective entrants (Courtesy of CNW Telbec)
  21. Un document faisant état de la valeur patrimoniale du réseau de métro de Montréal vient d’être complété. Il servira à orienter les décisions futures de la Ville et de la Société des transports de Montréal. «On oublie parfois que le métro est un emblème de Montréal à l’international, pour la diversité de son architecture et l’ensemble des corridors souterrains qui s’y rattachent» -Isabelle Dumas, Chef de la division du patrimoine à la Ville de Montréal http://journalmetro.com/actualites/montreal/414308/un-document-pour-evaluer-le-patrimoine-du-metro/ http://ville.montreal.qc.ca/portal/page?_pageid=2240,96375615&_dad=portal&_schema=PORTAL
  22. Ce projet date un peu, mais il ne se trouvait pas dans la section ''reste du Québec'' du forum et je trouvais que son architecture valait le coup d'oeil. Les photos proviennent du site web officiel du Centre de foires.
  23. La SAQ Signature située dans le Complexe Les Ailes déménagera sur la rue de la Montagne. Images : Sid Lee Architecture Le design de la SAQ Signature de Québec est vraiment bien!
  24. Une page Facebook démontrant à l'aide de montages photos les bons et les aberrations au niveau de l'urbanisme au Québec. Ça se passe ici : https://www.facebook.com/Lévolution-du-patrimoine-bâti-et-des-paysages-au-Québec-289514968148402/ Quelques exemples :