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A votre avis, de quel endroit serait le meilleur point de vue pour appréciez la densité du Centre ville de Montreal? J aimerai faire une photo ou l on voit un centre ville compact mais ou devrais je me poster? Merci de votre aide...

http://nymag.com/homedesign/urbanliving/2012/hudson-yards/ Atop the 1,300-foot office tower, soon to rise at 33rd Street and Tenth Avenue, by Kohn Pedersen Fox Associates. Photo: Rendering by Visualhouse From 0 to 12 Million Square Feet In a few weeks, construction begins on New York’s largest development ever. Hudson Yards is handsome, ambitious, and potentially full of life. Should we care that it’s also a giant slab of private property? An exclusive preview. By Justin Davidson Published Oct 7, 2012 ShareThis On a Friday afternoon in September, a conclave of architects and real-estate executives gathers in a hotel conference room to look over plans for Manhattan’s largest remaining chunk of emptiness. Hudson Yards, the railroad depot that stretches from Tenth Avenue to the Hudson River, and from 30th to 33rd Street, barely registers on the mental map of most New Yorkers. Look down from a neighboring window, and you see only a pit full of trains hazed with their diesel fumes. The planners’ view, though, takes in sugarplum dreams of the city’s shiny next wing: an $800 million concrete roof over the yards, and above it the country’s largest and densest real-estate development: 12 million square feet of *offices, shops, movie theaters, gyms, hotel rooms, museum galleries, and open space, and 5,000 apartments, all packed into 26 acres. In the first, $6 billion phase—scheduled for completion by late 2017—the tallest tower will top the Empire State Building, and even the shortest will have a penthouse on the 75th floor. The people in the conference room can visualize that future in high-resolution detail. On the screen, digital couples stroll among trees pruned to cubical perfection. A chain of glowing towers garlands the skyline, and tiny figures stroll onto a deck hanging nearly a quarter-mile in the air. Architects discuss access points, sidewalk widths, ceiling heights, flower beds, and the qualities of crushed-stone pathways. You could almost forget that none of this exists yet—until one architect points to a lozenge-shaped skyscraper and casually, with a twist of his wrist, remarks that he’s thinking of swiveling it 90 degrees. The Related Companies, the main developer of the site, has called this meeting so that the designers of the various buildings can finally talk to each other, instead of just to the client. I’m getting the first look at the details at the same time some of the participants are. Suddenly, after years of desultory negotiations and leisurely design, the project has acquired urgency: Ground-breaking on the first tower will take place in the coming weeks. There’s a high-octane crew in the room: William Pedersen, co-founder of the high-rise titans Kohn Pedersen Fox Associates; David Childs, partner at the juggernaut Skidmore Owings and Merrill; Elizabeth Diller, front woman for the cerebral boutique Diller Scofidio + Renfro; *David Rockwell, a virtuoso of showbiz and restaurant design; Howard Elkus, from the high-end shopping-center specialists Elkus Manfredi; and landscape architect Thomas Woltz, the only member of the group new to New York real-estate politics. Their task is to compose a neighborhood from scratch. The success of Hudson Yards depends on the question: Can a private developer manufacture a complete and authentic high-rise neighborhood in a desolate part of New York? “This isn’t just a project; it’s an extension of the city,” says Stephen Ross, Related’s founder and chairman. New York has always grown in nibbles and crumbs, and only occasionally in such great whale-gulps of real estate. In the richest, most layered sections of the city, each generation’s new buildings spring up among clumps of older ones, so that freshness and tradition coexist. A project of this magnitude, concocted around a conference table, could easily turn out to be a catastrophe. The centrally planned district has its success stories—most famously, Rockefeller Center. Coordinated frenzies of building also produced Park Avenue, Battery Park City, and the current incarnation of Times Square. But this enterprise is even more ambitious than any of those, and more potentially transformative than the ongoing saga of the World Trade Center. New York has no precedent for such a dense and complex neighborhood, covering such a vast range of uses, built in one go. That makes this Ross’s baby. Hundreds of architects, engineers, consultants, planners, and construction workers will contribute to the finished product. Oxford Properties Group has partnered with Related, and the city dictated much of the basic arrangement. But in the end, how tightly the new superblocks are woven into the city fabric, how organic their feel, and how bright their allure will depend on the judgment and taste of a billionaire whose aesthetic ambitions match the site’s expanse, and who slips almost unconsciously from we to I. “We went out and selected great architects and then created a whole five-acre plaza,” Ross says. “People will have never seen such a world-class landscaping project. I can’t tell you what that plaza will look like, but what I visualize is a modern-day Trevi Fountain. It’s going to be classical and unique.” The best clue to what he has in mind isn’t in Rome, but at Columbus Circle. Ross lives and works in the Time Warner Center, which Related built, and if you imagine the complex blown out to five times its size, you begin to get a sense of what’s coming at Hudson Yards: crowds flowing from home to boutique, hotel to subway, office to spa, concert to restaurant—and all that activity threaded around and through a curving plaza equipped with fountains and a very tall monument, as yet unchosen. The Time Warner Center brought profitable liveliness to Columbus Circle, the once moribund, now vibrant hinge between midtown and the Upper West Side. But massive as it is, the Time Warner Center is dainty by comparison. Hudson Yards circa 2017 1. This office tower, by Kohn Pedersen Fox Associates, will become Coach headquarters. 2. Apartments by Diller Scofidio +Renfro, joined by David Rockwell: condos on top, rentals below. 3. The flagship office building, also by KPF: 1,300 feet high. 4. The curvy multiuse tower by David Childs contains a hotel, condominiums, and a big Equinox gym. 5. The shopping arcade (please don't call it the mall). 6.The Culture Shed: still unrevealed, but a great big space for traveling exhibits and other events. Photo: Rendering by Visualhouse Unnumbered buildings (the western half of the development) have yet to be designed. Photo: Map by Jason Lee The view from the High Line. Photo: Rendering by Visualhouse Photo: Rendering by Visualhouse Photo: Rendering by Visualhouse Photo: Rendering by Visualhouse Photo: Rendering by Visualhouse Start on the High Line, at West 30th Street near Tenth Avenue. At the moment, the landscaped section peters out here, but the old elevated railway continues, forking both east and west to form the southern border of Hudson Yards. Eventually, you’ll be able to continue your stroll beneath the canopy of an office tower housing the headquarters of the leather-goods company Coach. It’s a tricky spot, and the interaction of city street and raised park forces the architecture to perform some fancy steps. The building genuflects toward Tenth Avenue on muscular concrete legs. Coach’s unit reaches out toward the High Line, and the crown greets the skyline at a jaunty tilt. With all its connections and contortions, the tower, designed by Kohn Pedersen Fox, assembles its identity out of the complexities of city life. “My whole career has been about taking buildings that are inherently autonomous and getting them to become social gestures,” remarks Pedersen. Head up a couple of blocks from Coach’s future headquarters, and at West 33rd Street, another KPF tower tapers from vast hoped-for trading floors to a jagged peak 1,300 feet up. A state-of-the-art office building these days requires huge open layouts and thick bundles of elevator shafts, which tend to give it the natural grace of a hippopotamus thigh. But look up: Here, the design artfully disguises the two towers’ bulk by making them seem dramatically foreshortened, as if they were speeding toward the sky. One slopes toward the river, the other in the direction of midtown, parted like stalks of corn in a breeze. The cone of space between them draws sunlight to the ground and leaves a welcome break in the city’s increasingly crowded skyline. With any luck, you should be able to stand at the foot of these towers and feel sheltered but not squashed. It would have been far easier to wall the development off and let each tower stand in isolated splendor. Instead, planners have tried to soften the borders of their domain. That’s not just civic-mindedness; it’s good business. If Hudson Yards is going to be a truly urban place, it will have to lure people who neither work nor live there but who come because everyone else does. The development will have two major magnets, one for commerce, food, and entertainment, the other for that primal necessity of New York life: culture. Related is pinning a lot of financial optimism on a five-floor, two-block-long retail extravaganza that links the two KPF towers, rather like the Time Warner Center shops, only bigger, busier, sunnier, and more tightly knit to the city. “We don’t want this to feel like a mall,” insists its architect, Howard Elkus. Pedestrian passageways cut through the building, extending the streets indoors, and a succession of great glass walls turn window-shopping into a spectator sport. The liveliness engine is on the fourth floor, where a collection of informal but high-end food outlets curated by Danny Meyer looks out over the central plaza—“Eataly on steroids” is how one Related executive describes it. Above that are more expensive restaurants and a ten-screen multiplex. Stroll out the western side of the shopping center toward the central plaza, walk diagonally across to 30th Street, halfway between Tenth and Eleventh Avenues, and you come to the most intriguing and mysterious element of Hudson Yards: the Culture Shed. Having set aside a parcel of land for cultural use, the city put out a call for ideas. Elizabeth Diller and David Rockwell answered with an amalgam of architectural and institutional innovations: a flexible gallery complex to accommodate traveling exhibits and nomadic performing events. Together, they designed an enormous trusslike shell that could fit over the galleries or roll out like a shipyard gantry to enclose a vast performance space. The city refuses to discuss architectural details, how the still-theoretical organization will function, or who would pay to build and operate it. But it’s easy to imagine it being used for film premieres and high-definition broadcasts from the Metropolitan Opera or as a permanent home for Fashion Week, which now camps out in tents. The Culture Shed can give Hudson Yards the highbrow legitimacy and cutting-edge cool it needs to become an integral part of New York, and also create a cultural corridor running from the Whitney Museum at Gansevoort Street (now under construction), through Chelsea’s gallery district, and up to Lincoln Center. The project may be in the wishful-thinking stage—it could still get scaled back or dumbed down, or it could vanish altogether. But it does have one crucial booster: the Related Companies. “The Culture Shed is critically important,” says Jay Cross, the executive who is running the Hudson Yards project. “We’re going to be major supporters because we want and need to see it come to fruition.” Hudson Yards is getting much more from the city than just the Culture Shed. While planners keep working out ways to weld the complex to its environs, the West Side has already begun to embrace its coming addition. New rental towers have sprouted in the West Thirties and burly office buildings will soon rise along Ninth and Tenth Avenues. “There are communities around us—Hell’s Kitchen, Midtown South, West Chelsea, New Jersey to the west—that if we do a great job are just naturally going to flow in and populate that space,” says Cross. The site as a whole is a yawning pit, not so much a blank slate as an empty socket, surrounded by amenities and infrastructure just waiting to be plugged in. Hudson River Park runs along the western edge (set off by Twelfth Avenue), the High Line spills in from the south, and the future Hudson Park and Boulevard will swoop down from the north. The No. 7 subway-line extension is on the way to completion, the Javits Center is being overhauled, and maybe one day Moynihan Station will even get built. In all, $3 billion in taxpayer-funded improvements encircle the Related fiefdom—not including city tax abatements. “Where else have you ever seen this kind of public money for infrastructure to service a whole new development, in the heart of the city, with that much land and no obstacles?” Ross asks. His vocal enthusiasm for Mitt Romney and the Republican Party’s small-*government credo evidently hasn’t curbed his appreciation for public support. Although it’s the next mayor who will cut the first ribbon, in the long run Hudson Yards may well be the grandest and most dramatic piece of Michael Bloomberg’s legacy. It’s been on the city’s to-do list for almost a decade, ever since Bloomberg hoped to draw the 2012 Olympics to New York with promises of a West Side stadium. The fact that London won the games was a disappointment to him but a stroke of luck for the West Side, scuttling what would have been a disastrous stadium plan, while at the same time calling attention to the value of the real estate above the tracks. Eager for space to put up high-rises and now prompted by a big hole on Manhattan’s western flank, the city focused on a rezoning that is gradually pulling midtown’s center of gravity westward. There are two ways to conceive such a monster project. One is for a single architectural overlord to shape the whole shebang, as Raymond Hood did at Rockefeller Center. Steven Holl, whose offices overlook Hudson Yards and who has designed two similarly gargantuan complexes in China, submitted an entry that might have resulted in a work of thrilling coherence, with the same sensibility imbuing every detail, from door handles to office blocks. But the auteur development also risks yielding a place of oppressive uniformity, where each aesthetic miscalculation is multiplied many times over. Related chose the second option: recruiting an ensemble of brand-name designers. That approach emulates a sped-up version of New York’s gradual, lot-by-lot evolution; the danger is that it can produce a jumble. “Sometimes architectural vitality leads to messiness, or varying degrees of quality, and we’re trying to avoid that,” acknowledges Cross. “Every building is going to be best in class. That’s the common thread.” But bestness is not actually a unifying concept, and when the city held the competition to award the development rights in 2008, the Related entry failed to wow the city, the public, or the critics. “With a drop-dead list of consultants, contributors, collaborators, and anyone else who could be thrown into the mix … [the company] has covered all possible bases with something dreadful for everybody. This is not planning, it’s pandering,” wrote the critic Ada Louise Huxtable in The Wall Street Journal. None of that mattered: The project originally went to another developer, Tishman Speyer, and when that deal fell through, Related scooped it up. Architecture had nothing to do with it. Yet nearly five years later, with contracts signed and money starting to flow, that gold-plated crew of designers, working in separate studios, with different philosophies and, until recently, little consultation, has nevertheless produced a kind of haphazard harmony. What unites them is their taste for complexity and the deftness with which they maneuver conflicting programs into a single composition. Just past the Culture Shed, on the 30th Street side of the site at Eleventh Avenue, is the eastern half’s only purely residential tower, designed by Diller Scofidio + Renfro, with David Rockwell. It’s an architectural griffin, grafting together rectilinear rental units on the lower floors with flower-petal condo layouts up high—about 680 apartments in all. The fantastically idiosyncratic bulges and dimples join in complicated ways that make the glass façade look quilted. Now walk north, back across the plaza and past a still-to-be-designed café pavilion, and you come to another tower with a textured exterior—vertical folds with stone on one side and glass on the other, as if a palazzo had merged with a modernist shaft. Actually, the building is even more hybridized than that. David Childs, the architect of the Time Warner Center and One World Trade Center, had to shoehorn a large Equinox gym plus offices, an orthopedic hospital, a sports emporium, a hotel, and a condominium into a curved base and a slender tube. “Hudson Yards is a city within a city. This tower is a city within a city—within a city,” he says. The most delicate, crucial, and treacherous design problem at Hudson Yards isn’t a building at all but the public space, and especially the five acres in the middle, an expanse about as large as Bryant Park. Done right, it could be the most vibrant gathering spot on the West Side, a New York version of Venice’s Piazza San Marco. Done wrong, it could be a windswept tundra populated only by office workers scuttling between the subway and their desks. It’s worrisome that Ross and his team postponed thinking about that void until so much of the architecture had been designed, but heartening that they are intensely focused on it now. Related has given the job to the talented Thomas Woltz, whose quietly refined restorations of gardens and college campuses may not quite have prepared him for the fierce pressure of shaping New York’s most ample new public space. It’s not just a place for people to mingle but for the relationships between the various buildings to express themselves across the connecting plaza. “One of the paintings I admire most is The School of Athens,” says KPF’s William Pedersen, referring to Raphael’s klatch of bearded philosophers chatting beneath noble vaults. “You have great historical and intellectual figures gathered together in dynamic groups of interchange, gesturing to each other. That’s the architectural assignment for each of us.” David Childs phrases a similar thought in a way that graciously defers to Woltz even while sending the message: Don’t screw this up. “We have an obligation to create great architecture, and all the buildings have to be related to the space in the center,” he says. “The void is the most important part.” Woltz has gotten it wrong once. In his first presentation, he placed a plush lawn at the center of the complex, and Ross nearly kicked him out of the room. What Ross wants is not a place to toss a Frisbee, but a town square alive with purpose and electricity. That’s a spectacular challenge; there are few great models for a European-style piazza within a ring of skyscrapers. For now, Woltz’s solution is a paved ellipse, outlined by a perimeter of trees cultivated with geometric severity—given “the Edward Scissorhands topiary treatment,” as one designer puts it. The idea is to create a verdant transition from the human scale to that of glass-and-steel giants. “In an open space next to 1,000-foot towers, our tallest tree is going to be like an ant next to a tall man’s shoe,” Woltz says. But the most maddening paradox of Woltz’s assignment is that he must tailor an open space to the motley public—in ways that will please a potentate. Like some fairy-tale monarch, Ross has dispatched his counselors to find an artist capable of supplying his modern Trevi Fountain. What he wants is something monumental enough to focus the entire project, a piece that’s not just watery and impressive but so instantly iconic that people will meet by it, shoot photos of it, notice it from three blocks away, and recognize it from the cover of guidebooks. You get the feeling that Ross is hedging his bets: If Woltz can’t deliver a world-class plaza with his trees and pavers, maybe a Jeff Koons or an Anish Kapoor can force it into life with a big honking hunk of sculpture. A giant puppy can’t solve an urban design problem, though. It’s nice that a hardheaded mogul like Ross places so much faith in the civic power of art, but he may be asking it to do too much. The plaza is the node where the site’s conflicting forces reveal themselves: the tension between public and private, between city and campus, between democratic space and commercial real estate. Occupy Wall Street’s takeover of Zuccotti Park last year pointed up the oxymoron inherent in the concept of privately owned public space: You can do anything you like there, as long as the owners deem it okay. Childs hopes that his client’s insistence on premium-brand design won’t make Hudson Yards just the province of privilege. “We want this project to be laced through with public streets, so that everyone has ownership of it, whether you’re arriving in your $100,000 limo or pushing a shopping cart full of your belongings.” The plans include drop-off lanes, so the limos are taken care of. But if the shopping-cart pushers, buskers, protesters, skateboarders, and bongo players start feeling too welcome at Hudson Yards, Related’s security guards will have a ready-made *argument to get them to disperse: This is private property.

il y a des milliers de gratte ciel a travers le monde...Si vous n en n aviez qu UN (1) a nommer, lequel serait il? Gratte ciel de plus de 150m, hors ceux qui sont en construction... Merci de mettre une photo pour illustration et un commentaire pourquoi ce choix...

Bonjour ! J'ai décidé hier de créer une série de photo sur l'architecture des écoles. J'adore l'architecture et j'étudie en photo, donc un des mes sujets favori en photo est l'architecture et l'urbanisme. L'architecture des écoles n'est pas ce qu'il y a de plus extraordinaires, surtout celles construites après les années 60. Dans cette série j'espère pouvoir vous faire découvrir et partager des angles de vues qui feront sortir la beauté de ces immeubles souvent en mauvaise état. Voici la première photo de cette série. Construit en 1967 par le Collège Français, ce bâtiment était un annexe pour la division primaire du collège Français jusqu'en 2000. Depuis 2000, elle abrite "L'École des Premières Lettres", une OSBL dirigé par les parents des enfants.

Petit projet de 25 unités sur 3 étages. Ce n'est surement pas en hauteur mais j'aime le design du condo qui est toute en brique rappelant le passé industriel de ce quartier et s'intégrant bien avec d'autres batiments du secteur. Malheureusement il n'y a qu'une toute petite photo sur la page d'accueil du constructeur et je ne suis pas capable de l'insérer ici. Par contre il y a d'autres infos sur la page de ce projet. http://grouperossi.ca/main.cfm?p=11&l=fr&ProjetID=43

Expo 2010 Shangai China Regardez bien la page de CNN, la photo d'un pavillon va peut-être rappeler quelque chose aux plus vieux... http://www.cnngo.com/shanghai/shanghai-expo-2010

Probablement un des pires noms que j'ai vu à date pour un projet... Le projet est situé sur le boulevard Gouin, à l'est du nouveau pont de la 25. La densité de ces condos détonne dans un endroit à l'architecture déjà très hétérogène. Un rendu trouvé sur le web: Une photo de la construction:

Avec tout les chantiers présents et ceux passé des dernières année, j'ai pensé que l'on pourrait reprendre de vieilles photos et d'essayer de s'amuser un peu en identifiant quel bâtiment est en construction. Règlement: Photo de bâtiment en construction dans la région de Montréal seulement ( y compris Laval et la Rive-Sud) Bâtiment de plus de 3 étages ( pas de duplex Samcon sur le plateau par exemple) ou infrastructure d'importance . Le bâtiment peut être en construction présentement ou complété. Le premier qui identifie le projet re-poste une photo. Image 1:

Dans le SFGate Montreal's quartet of cultures creates a colorful pattern Margo Pfeiff Updated 11:25 am, Friday, July 4, 2014 Tourists gather near the Basilique Notre-Dame in Montreal. Photo: Joanne Levesque, Getty Images The Ogilvy Piper makes his way through the jewelry section of the iconic department store at noon every day. Photo: Margo Pfeiff, Special To The Chronicle A room at Old Montreal's classic 18th century Hotel Pierre du Calvet. Photo: Margo Pfeiff, Special To The Chronicle Old Montreal's classic 18th century Hotel Pierre du Calvet. A terrace at an Old Montreal restaurant. Photo: Margo Pfeiff, Special To The Chronicle Activities at the Lachine Canal National Historic Site. Photo: Margo Pfeiff, Special To The Chronicle Ninety percent of all first encounters in downtown Montreal begin with the same two words. That are the same word. "Bonjour. Hi." Respond one way and you parlez français; answer the other and you're in English territory. Despite periodic bickering - including threats of Quebec's separating from the rest of Canada - the biggest French-speaking city outside of Paris has actually become increasingly bilingual and harmonious over recent decades. But with the strong bilateral English-French vibe, what's often overshadowed is that there were four founding cultures that laid down strong roots on this island in the middle of the St. Lawrence River almost 350 years ago. I'm reminded of this as I wait at a traffic light staring at each culture's national symbols on a flapping city flag - the French fleur-de-lis, the red English rose, an Irish shamrock and Scotland's thistle. Though Montreal is wildly multicultural today, in the 19th century, 98 percent of the city's population was French, English, Irish or Scottish. Is it still possible, I wonder, to experience each of those distinct original cultures - including real, non-poutine France and genuine tally-ho England - in modern Montreal? Heart of New France Since I believe every cultural quest is improved with a signature cocktail, I start with France and I order my very first absinthe at the Sarah B Bar, named after Sarah Bernhardt, queen of French tragedy. As couples cuddle in "Green Fairy" alcoves, my bartender pours the notorious chartreuse liquor that Hemingway, Toulouse-Lautrec and Oscar Wilde imbibed in their Parisian days into a specially shaped glass. He rests a flat, perforated "absinthe spoon" topped with a sugar cube across the top, then drips ice water until it is melted, turning the absinthe milky. Legend has it that absinthe has driven men to madness and drove Van Gogh to slice off his ear. Sipping the herbal, floral and slightly bitter cocktail, I look closely at the bottle's label - while the current version is a hefty 160 proof, it's missing the likely source of "la fée verte" (green fairy) hallucinations, wormwood. I teeter on uneven cobblestone streets to the heart of New France in Old Montreal amid clip-clopping horse-drawn carriages. Bells chime from Notre Dame Basilica with its Limoges stained glass windows from France, artists sell their crafts in narrow alleyways, and in the evening, gas lamps still light up rue Ste.-Helene. I check into La Maison Pierre du Calvet, a nine-room guesthouse spanning three small buildings dating back to 1725. It's a stone-walled time capsule with random staircases, crooked hallways and an antique-filled library with ancient fireplaces. Escargot and stag fillet are served in a grand old dining room, and the chateau luxury includes a grand step-up, monarchy-caliber canopied bed. The morning streets waft cafe au lait and croissant aromas as I walk to the walled city's original market square of Place Royale to Maison Christian Faure, a chic new French pastry shop. In the hands-on cooking school, I glean the secrets behind crisp-on-the-outside, chewy-on-the-inside, iconic French macarons. It's so simple they even offer kids' classes, and it's made all the more fun by Lyon-born Faure himself, a Meilleur Ouvrier de France (MOF) - an elite group of France's best chefs - and the stories of his days as pastry chef for French President Nicolas Sarkozy and the prince of Monaco. "I moved here because the public markets are like those in Provence," he croons in a Lyon accent, "and because Montreal is so, mmmmm ... Europe." The pipes are calling While French zealots came to the New World to save the souls of "sauvages," the Scots came to make money. And you can still see plenty of it in the Golden Square Mile's historical buildings sloping up from Sherbrooke Street, downtown's main upscale shopping boulevard, to Mont Royal, the park-topped hill after which the city is named. The area was a residential tycoon alley from 1850 to 1930, occupied by rail, shipping, sugar and beer barons with names like Angus, McIntyre and Molson who owned 70 percent of the country's wealth. About 85 percent of the lavish estates were lost before heritage finally won over demolition in 1973. When I walk those hilly streets for the first time instead of whizzing by in my car, I'm surprised to see downtown with different eyes, an obviously British and Scottish quarter with an eclectic architectural mix from Neo-Gothic and Queen Anne to Art Nouveau, estates with names such as Ravenscrag and castles crafted from imported Scottish red sandstone. These days they're consulates, office headquarters and the Canadian McCord Museum; 30 of the beauties are campus outposts bought by McGill University, a legacy of Scottish merchant James McGill, who donated his 47-acre summer estate to become one of Canada's leading universities. One of my favorite buildings is the 1893 Royal "Vic" (Victoria) Hospital, where you can get your appendix yanked in a Scottish baronial castle complete with turrets. And where there are Scots, there are bagpipes. Montreal's most famous piper is at Ogilvy, a high-end department store on Ste. Catherine Street. Every day from noon to 1 p.m. since 1927, a kilt-clad piper plays marches and reels as he strolls around all five floors, down spiral staircases and beneath massive chandeliers where purchases are packed in tartan bags and boxes I also hear the whining tones of "Scotland the Brave" as I head toward my Highland cocktail at the Omni Hotel, where a kilted piper every Wednesday evening reminds folks emerging from Sherbrooke Street office towers that it's Whisky Folies night, a single-malt-scotch tasting in the Alice Bar. I choose five from the 10- to 20-year-olds served with a cuppa fish and chips. A local Scotsman drops in for a wee one, informing me that there's been a benefit St. Andrews Ball in Montreal every November for 177 years, "but come to the Highland Games, where there's dancing, throwing stuff around and looking up kilts - fun for the whole family." Montreal's bit o' Irish Snippets of the four founding cultures pop up repeatedly when you walk around town - statues of Robbie Burns and Sir John A. Macdonald, the Glasgow-born first prime minister of Canada; the green Art Nouveau ironwork of a Paris Metro at the Victoria Square subway station, given by France; British hero Adm. Horatio Nelson overlooking Old Montreal's main square (though the original likeness was blown to bits by Irish republican extremists in 1966). Ah, the Irish. They arrived in Montreal in big numbers in the early 1800s to build the Lachine Canal to bypass rapids blocking the shipping route to the Great Lakes. They settled nearby in Griffintown, currently a maze of condos and cranes. Stroll along rapidly gentrifying Notre Dame Street, still an eclectic melange of antiques-and-collectibles shops, funky cafes and local bistros. The Irish were unique among English-speaking immigrants - hatred for their English oppressors back home had them cozying up with the French, fellow Catholics. Surprisingly, the Irish legacy is dominant in Montreal; about 40 percent of the population has a wee bit of Blarney blood. Of course there are also pubs and churches, St. Pat's Basilica being the ornate religious hub, its interior adorned with intertwined fleurs-de-lis and shamrocks. Conveniently nearby, sacred brew is served over the altar of Hurley's Pub, a favorite hangout where Irish and Newfoundlanders work magic with fiddles, pipes and drums - even the Pogues have jammed here. I love Hurley's because it's a rare pub with Guinness stout on tap both icy cold and traditionally lukewarm; I prefer the latter for bigger flavor. "Watch him top that brew up three times," Frankie McKeown urges from a neighboring stool. "Even in Ireland they hardly do that now." The Irish come out of the woodwork on March 17, when Canada's oldest St. Patrick's parade turns downtown green, as it has since 1824. "It's amazing," says McKeown. "In Dublin it's all done in 45 minutes, but here we're watching floats for three hours." A grand party ensues afterward at Hurley's. "But it's just as much fun on Robbie Burns Day, when a haggis held high follows a piper through the pub." Britain in the mix Britain enters Montreal's picture after the Seven Years War in the 1760s when France dumps Quebec in exchange for the sugar colonies of Martinique and Guadeloupe. By 1845, about 55,000 British top out as 57 percent of Montreal's population - and the percentage has been dwindling ever since. While there may not be much Scottish brogue or Irish lilt left these days, there's plenty of culture on the plate and in the glass, though surprisingly not so much representing British roots in Montreal. In 2012, English chef Jamie Oliver made big waves by teaming up with Montreal chef Derek Dammann to highlight creative British tavern-inspired fare at the popular Maison Publique (Public House), serving locally sourced, home-smoked/pickled and cured angles on Welsh rarebit, hogget with oats and cabbage, and the like. Otherwise, the truest of Montreal's British establishments is the Burgundy Lion in Griffintown, one of the few places to offer Sunday British "footie" on the big screens, as kippers 'n' eggs, Lancashire pot pie and cucumber sandwiches are dished out by gals in tight, mod-'70s outfits. I happen to drop in during England's National Day, St. George's, to find the place hopping with dart-throwing, papier-mache piñata-style "dragon slaying" and ballad singing. I wind up at the bar sipping my pint of Boddingtons between two fellows, both dressed in fake chain mail. The one also draped in a Union Jack British flag clicks my glass with his bottle, announcing "Here's to Blighty!" before raising the visor on his medieval knight helmet to take a royal slug. Can you still experience Montreal's four founding nations in this multicultural modern city? Oui. Yes. And aye. If You Go GETTING THERE Air Canada offers daily flights from San Francisco to Montreal year round. (888) 247-2262, www.aircanada.com. WHERE TO STAY La Maison Pierre du Calvet: 405 Bonsecours St., Old Montreal. (514) 282-1725 or (866) 544-1725. www.pierreducalvet.ca/english. Lavish French colonial inn. From $265 double with continental breakfast. (Two on-site dining rooms serve French fare.) Fairmont Queen Elizabeth: 900 Rene Levesque Blvd. West. (866) 540-4483. www.fairmont.com/queen-elizabeth-montreal. A classic fit for everyone from the Queen Mother to John and Yoko; where they recorded "Give Peace a Chance" in 1969. From $209 double. Hotel Nelligan: 106 St. Paul West, Old Montreal. (877) 788-2040. www.hotelnelligan.com. Chic boutique hotel named after a famed Irish-French poet. From $250 double. WHERE TO EAT Le Mas des Oliviers: 1216 Bishop St. (514) 861-6733. www.lemasdesoliviers.ca. Classic French cuisine at a landmark downtown restaurant, one of the city's oldest places to eat. Dinner for two from $120. Also open for lunch. Restaurant L'Express: 3927 St. Denis. (514) 845-5333, www.restaurantlexpress.ca. Popular, casual French bistro, a Montreal icon. Dinner for two from $60. Maison Publique: 4720 Rue Marquette. (514) 507-0555, www.maisonpublique.com. Jamie Oliver's hip, up-market and creative take on British tavern fare. Very popular, no reservations. Dinner for two from $60. Burgundy Lion: 2496 Notre-Dame West. (514) 934-0888, www.burgundylion.com. Only true British pub in Montreal. Large selection of local and imported brews and one of Canada's biggest single-malt whiskey collections. English gastro pub menu with lunch and dinner from $40 for two. Hurley's Irish Pub: 1225 Crescent St. (514) 861-4111, www.hurleysirishpub.com. Great selection of brews, a traditional Emerald Isle pub menu, and Irish and/or Newfoundland fiddle music nightly. Entrees from $10. WHAT TO DO Point-a-Calliere Museum of Archaeology and History: 350 Place Royale, Old Montreal. (514) 872-7858, www.pacmusee.qc.ca/en/home. Excellent museum set atop the original city town square. Closed Mondays except in summer. Adults $18. McCord Museum: 690 Rue Sherbrooke West. (514) 398-7100, www.mccord-museum.qc.ca/en. Extensive cultural museum of all things Canadian. Frequent exhibitions of Montreal's various cultures. Closed Mondays. Adults $12. Fitz and Follwell Co: 115 Ave. du Mont-Royal West. (514) 840-0739, www.fitzandfollwell.co. Guided Montreal biking, walking and unique snow tours. Martin Robitaille: Private history-oriented city guide. [email protected] Maison Christian Faure: 355 Place Royale, Old Montreal, (514) 508-6453, www.christianfaure.ca. Hands-on French pastry and macaron-making classes. There's even a pastry-making boot camp for kids. Whisky Folies, Omni Hotel: 1050 Sherbrooke West. (514) 985-9315, http://bit.ly/1iCaJxc . Single-malt scotch and whisky tastings with fish and chips every Wednesday, 5-9 p.m.. From $16 to $40. My Bicyclette: 2985-C St. Patrick (Atwater Market). (877) 815-0150, www.mybicyclette.ca. Bike rental and tours of the Lachine Canal region. MORE INFORMATION Tourism Montréal: www.tourisme-montreal.org. Tourism Québec: www.bonjourquebec.com. Margo Pfeiff is a freelance writer living in Montreal. E-mail: [email protected]

Petit projet situé juste en face du métro Charlevoix. Lors de ma tournée la semaine dernière j'ai aperçu le terrain sur lequel sera construit ce petit projet et il est littéralement en face de la station de métro. Je suis estomaqué que l'on puisse construire des stationnements pour un si petit projet alors que le métro est à 30 secondes de marche. Si quelqu'un peut uploader la photo allez-y car je n'y arrive pas. http://www.gcaimmobilier.com/

Un set de photo vraiment intéressant... http://www.flickr.com/photos/sirber/sets/72157607363541108/

Un autre petit projet à St-Henri. Et à ce que je peux voir ça se vend très bien donc on peut s'attendre à en voir davantage. Celui-ci comporte deux phases. Je ne savais pas, lors de ma visite, qu'il y avait deux phases dont j'ai pris une photo de la phase en conctruction et je crois que c'est la deuxième phase. http://www.groupevistacorp.com/projets-condo/Le-St-philippe-Phase-2.html?ProjetID=79

Bon je viens de faire le tour des projets et je n'ai pas vue ce projet le 2950, Boul. St-Martin, Laval / 8 étages en face du Centropolis. À voir ici: Photo du rendu par moi sur le site du projet à côté du Palais de justice Provincial. source de l'info ÉricdeMtl sur SSP

Le 24 août 2009 Les quartiers montréalais d'hier à aujourd'hui Agrandir Un des bijoux du quartier ouvrier né à l'époque de la Première Guerre mondiale: le marché Maisonneuve. Photo: David Boily, La Presse Marie-France Léger La Presse Découvrir et apprécier l'architecture et l'aménagement de différents quartiers montréalais, voilà ce que nous propose jusqu'au début octobre Héritage Montréal, grâce à ses circuits pédestres Architectours. Pour nous inciter à suivre le guide, Claudine Déom, professeure à l'École d'architecture de l'Université de Montréal, nous dévoile les origines et l'évolution d'un quartier ouvrier qui a opéré, depuis quelques années à peine, une reconversion: Hochelaga-Maisonneuve. «Héritage Montréal se penche sur les origines mais aussi sur les contributions contemporaines, les ajouts qui forment le patrimoine de demain. Ce qu'on dit aux Montréalais: il faut voir autrement ces aménagements et ces arrangements de bâtiments», souligne Mme Déom, qui accompagnera les mordus d'histoire et d'architecture dans ce quartier le 6 septembre. Bien penser les habitations Pour comprendre Hochelaga-Maisonneuve, il faut revenir au modèle souhaité par la municipalité de Maisonneuve au début du XXe siècle: un quartier pour les ouvriers qui serait sain, lumineux et aéré, comportant des logements superposés (les fameux «plex») proches des lieux de travail; les usines bordant le fleuve rue Notre-Dame. On était loin de l'idée des quartiers ouvriers insalubres. «On s'interroge encore sur l'origine de ces plex. On a des hypothèses sur les influences écossaises ou britanniques. Ces habitations typiques proposent une superposition de logements en groupe de deux, trois ou cinq pour régler le problème de densité. Ce sont des habitations en rangée auxquelles on accède par l'arrière par un réseau de ruelle. C'est Montréal qui a été la première à trouver cette solution au Canada. Il faut se souvenir que Montréal était alors la métropole.» Agrandir Un immeuble dont l'architecture ne contraste pas énormément avec des habitations superposées en rangée datant du XXe siècle. (Voir la photo plus bas) Photo: David Boily, La Presse De bons services En fait, les élus de l'époque voulaient ce qu'il y avait de mieux près des habitations, comme aux États-Unis: larges boulevards avec perspective (boulevard Morgan), architecture imposante de style Beaux-Arts (marché Maisonneuve et bain Morgan) et aménagements des espaces publics et des parcs (parc Morgan). «Les élus voulaient qu'il y ait de bons services pour les citoyens. L'idée de l'époque, c'était l'esprit sain dans un corps sain: au bain Morgan, il y avait non seulement une piscine et une palestre, mais aussi des douches et des toilettes, ce qui renforçait le principe de l'hygiène», précise Mme Déom. Agrandir Des plex en rangée remontant au début du XXe siècle dans la rue Nicolet. Au Canada, Montréal a été la première ville à innover avec ce type d'habitation superposées en rangée. Photo: David Boily, La Presse L'ancien quartier ouvrier a connu un boom immobilier depuis quelques années et s'embourgeoise sous l'appellation HoMa. Les tours modernes se multiplient et les chantiers s'activent toujours en 2009 sur les lieux d'anciennes usines et de terrains vagues. Édifiée à l'emplacement d'une ancienne voie ferrée, la place Simon-Valois tente quant à elle de recréer le design d'une vieille gare de triage... Les visites Le centre-ville ouest, domaines et jardins Samedi 22 août, dimanche 4 octobre Départ: 14h, angle Atwater et Sainte-Catherine (métro Atwater, sortie Sainte-Catherine) Le 25e de l'Affaire McGill College Samedi 12 septembre, dimanche 23 août Départ: 14h, angle McGill College et Sherbrooke Ouest (métro McGill) Le square Dorchester Samedi 29 août Départ: 14h, angle Peel et rue du Square Dorchester (métro Peel, sortie Peel est) Agrandir Le Bain Morgan, construit en 1915 dans le quartier Hochelaga-Maisonneuve. Photo: Alain Roebrge, La Presse Hochelaga-Maisonneuve Dimanche 6 septembre Départ: 14h, angle Notre-Dame Est et Pie-IX (métro Pie-IX et autobus 139 sud) Vieux-Montréal/ Une autoroute pour la rue Saint-Paul Samedi 5 septembre Départ: 14h, angle avenue Viger et rue Saint-Urbain (métro Place-d'Armes) De la Gauchetière, passage oublié Samedi 19 septembre, dimanche 30 août Départ: 14h, angle rue Saint-Hubert et boulevard de Maisonneuve Est (métro Berri, sortie Place-Dupuis) Places et squares au centre-ville Samedi 3 octobre, dimanche 13 septembre Départ: 14h, angle Belmont et Côte du Beaver Hall (métro Square-Victoria, sortie Belmont) Les espaces verts de Westmount Dimanche 20 septembre Départ: 14h, angle boulevard de Maisonneuve et avenue de Vendôme (métro Vendôme) Plus d'info sur les visites et les tarifs: http://www.heritagemontreal.org Voilà quelque chose de positif venant d'Héritage Montréal

L'auteur vend la photo originale pour 3000 euros

C'est le genre de projet que j'aime beaucoup! Je trouvais dommage, chaque fois que je passais dans le coin, qu'il y ait ce petit stationnement qui, selon moi, n'était pas vraiment attrayant pour des promoteurs. Ça fait un mois environ que j'ai vu l'affiche et que je l'ai prise en photo. J'ai manqué de temps pour vous en faire part. Le problème est qu'il n'y a pas vraiment de détails... ------------------------------

Je vous invite a voter pour la photo gagnante du premier concours de photographie : http://mtlurb.com/forums/showthread.php?t=5484

Charest: «On n'a pas de comptes à rendre à Ottawa» Jean Charest (Photo David Boily, La Presse) Photo David Boily, La Presse Denis Lessard La Presse Le gouvernement du Québec n’a pas de comptes à rendre à Ottawa quant à sa décision de baisser les impôts avec l’argent transmis par Ottawa au printemps 2007, a soutenu jeudi le premier ministre Jean Charest. Il répliquait sans ménagement aux propos tenus plus tôt par le premier ministre Stephen Harper pour qui le Québec ne pouvait à la fois prétendre que le déséquilibre fiscal demeurait et baisser les impôts pour ses contribuables. «Baisser les impôts pour la classe moyenne, j’y tenais beaucoup. Les économistes reconnaissent que c’est la raison pour laquelle l’économie du Québec va tirer son épingle du jeu malgré le ralentissement (économique)», a soutenu M. Charest à l’arrivée à la réunion présessionnelle de son caucus. «Je n’ai pas de comptes à rendre au gouvernement fédéral sur la gestion des fonds au Québec», a-t-il laissé tomber. Pour lui le règlement du problème du déséquilibre fiscal passe aussi par une solution au financement de l’éducation post-secondaire, malmenée par les coupures d’Ottawa dans les années 1990. «Comme premier ministre du Québec je vous dis que ce n’est pas réglé et qu’on va continuer à réclamer du financement pour le post-secondaire», a déclaré M. Charest.

J'ai trouvé cette photo sur Wikipedia. La plus belle phoot que j'ai jamais vu de Hong-Kong!!!

Je suis présentement en vacances, et je me demandes si vous connaissez de beaux endroits à l'entour de montréal (disons 1-2 h en auto de Montréal) ou je peux me promener pour prendre de beaux paysages en photos... suggestions?

Édifice maigrichon sur Maisonneuve que je trouve vraiment mal intégré à son environnement! Autre façade cheap sur Maisonneuve. Vivement une restauration! Enfin, les fenêtres déplacardées du La Baie. Le magasin retrouve sa beauté d'antan Quelqu'un sait ce qui se passe à la Place d'Youville??? Enfin un projet de réaménagement qui se concrétise??? Le square des Frères Charon qui commence à prendre réellement forme Un projet en attente sur la rue Queen Nouveau parc à chiens rue Duke ma photo coup de coeur du jour

Bon ben aujourd'hui, j'avais une petite heure, donc je me suis dit que j'allais en profiter pour essayer de voir de quoi aurait l'air la Tour d'Hydro-Québec avec une rénovation à la Tour Québécor. Voici le résultat: (Dites vos commentaires, mais soyez compréhensifs du fait que j'ai fait ca assez rapidement;) ) (Photo de Caribb, de flickr.com) Et avec les changements:

voici de magnifique photo http://i.pbase.com/o6/66/524666/1/59948918.Yi2tVTB6.59948918_DSC_9243pbx.jpg http://i.pbase.com/o6/66/524666/1/60923028.8F0CVHuQ.DSC_0820pd.jpg http://i.pbase.com/o4/66/524666/1/44949013.P1080558.jpg http://i.pbase.com/o6/66/524666/1/61001774.bt5mwf9r.61001774_DSC_0918pbx.jpg http://k43.pbase.com/o4/66/524666/1/50137195.50137195.PICT0025.jpg http://i.pbase.com/o4/66/524666/1/64044148.2rG5w1by.DSC_5707pb.jpg http://k53.pbase.com/o4/66/524666/1/50052200.50052200.P1140840xyz.jpg http://i.pbase.com/o6/66/524666/1/76977879.hEGhLkjV.IMG_3848pb.jpg http://k43.pbase.com/o6/66/524666/1/70581955.3CfH0laz.IMG_0108pb.jpg http://k43.pbase.com/o4/66/524666/1/59617952.P1170586_filteredpb.jpg http://i.pbase.com/o6/66/524666/1/63628594.gJHClywv.63628594_YM4DyWZJ_DSC_5202pb2x.jpg maintenant a vous de dire vos opinon sue ces photo ou de poster vos propre photo:D

Un astronaute américain a fait rayonner Montréal partout dans le monde ce matin. Scott Kelly a en effet publié sur Twitter une photo de Montréal prise de la Station spatiale internationale (SSI). Âgé de 54 ans, Scott Kelly est au coeur d'une mission d'un an dans la SSI. Parti le 27 mars dernier, il documente son séjour à travers une série documentaire en collaboration avec Time Magazine. http://www.journaldemontreal.com/2015/08/18/un-astronaute-publie-une-photo-de-montreal-prise-de-lespace

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