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  1. 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.
  2. Green Mobility: A Tale of Five Canadian Cities Un article très intéressant de SustainableCitiesCollective..... qui parle de Montréal, Toronto, Vancouver, Ottawa et Calgary. Il y a plein de tableau qui montre le taux d'usager du transport-en-commun dans les villes, de densité, l'usage de l'automobile, type de logement, etc... À voir! Montreal is the largest city of the province of Quebec and the second largest city of Canada. It is located on the island of Montreal and is well known as one of the most European-like cities in North America and as a cycling city. It is also famous for its underground city and its excellent shopping, gourmet food, active nightlife and film and music festivals. Montreal's public transit consists of a metro and bus network, paratransit service for people with functional limitations, and the public taxi, which is a form of transport provided in low-density areas where it is not possible to establish regular bus services, according to the Sociéte de Transport de Montréal. Five commuter rail lines connect downtown Montreal with 83 municipalities in the Montreal metropolitan region, according to L'Agence métropolitaine de transport de la région de Montréal; and the 747 bus line links several downtown metro stations with Pierre Trudeau International Airport. A bus shuttle service links the same airport with the VIA Rail train station in Dorval, a suburb of Montreal. Public transportation is considered as Montreal's preferred transportation mode for the future. And in order to encourage the use of transit, the City's Master Plan aims to intensify real-estate development near metro and commuter train stations, as well as certain public transportation corridors, according to City of Montreal Master Plan. The modal share of transport on the Island of Montreal is expected to change from 2008 to 2020 as follows: car only from 48% to 41%, public transit from 32% to 37%, active transportation (walking and biking) from 15% to 18%, and other motorized modes of transport from 5% to 4%, according to the STM's Strategic Plan 2020. Montreal has nearly 600 kilometres of dedicated bikeways, according to Tourisme-Montreal. And Quebec Cycling, a non-profit organization, runs two programs designed to promote the use of active transportation in the city. The first, "Operation Bike-to-Work" supports employees who want to cycle to work and employers who want to encourage their employees to cycle to work. The second, "On-foot, by bike, active city" promotes active and safe travel in municipalities —especially near schools— to improve health, the environment and the well-being of citizens, according to Vélo Québec
  3. Le Cirque Éloize a imaginé des projets d’animation du parc Jean-Drapeau en vue du 50e de l’Exposition universelle 25 février 2014 | Frédérique Doyon | Actualités culturelles Le Devoir La Biosphère pourrait faire l’objet d’une mise en lumière permanente à l’instar de la tour Eiffel. L’idée fait partie d’un bouquet de propositions pour animer le parc Jean-Drapeau, à l’occasion du 50e anniversaire de l’Exposition universelle en 2017, a appris Le Devoir. La Société du parc Jean- Drapeau (SPJD) a mandaté le Cirque Éloize pour mettre sur pied une table de concertation afin d’imaginer des programmations spécifiques pour le site des îles Notre-Dame et Sainte-Hélène, en vue du 50e de l’Expo, mais qui se déploieront dans le cadre du 375e anniversaire de Montréal. L’exercice s’articule autour de sept grandes orientations pour dynamiser le site à long terme. Chaque orientation a donné lieu à des idées bien concrètes, inspirées de ce qui se fait ailleurs dans le monde. L’illumination du fameux dôme géodésique de l’architecte Richard Buckminster Fuller, icône de l’Expo, est l’une des idées proposées pour remettre en valeurs les icônes architecturales de l’Expo, un des axes de développement abordés dans le rapport qui n’a pas encore été rendu public, mais dont Le Devoir a eu un aperçu. Une autre proposition consiste à doter le parc de bateaux-péniches de services (hôtellerie, restauration, etc.) sur les bords du fleuve. Un concept similaire, qui existe à Amsterdam et à Paris, est l’une des idées soumises au chapitre de la réappropriation du fleuve. Il faudra attendre avant de savoir quelles recommandations seront retenues. La direction de la SPJD doit d’abord déposer le rapport à son conseil d’administration, puis à la Ville et à la Société des célébrations du 375e anniversaire de Montréal. Car ces propositions se joindront à l’ensemble du programme du double anniversaire — voire triple, puisqu’il coïncide aussi avec le 150e de la Confédération canadienne. Et le budget de ce programme d’animation n’est pas encore attaché. Il s’articulera à l’ambitieux programme d’aménagement du parc déjà connu, qui vise à revitaliser quatre secteurs clés au coût de 55 millions de dollars : la Place des Nations, la construction d’une promenade riveraine panoramique de trois kilomètres le long du Saint-Laurent, la création d’un espace d’accueil autour du métro et l’aménagement du Parterre de l’île Sainte-Hélène — où se déroule le festival Osheaga — pour accueillir confortablement 45 000 personnes. Le parc Jean-Drapeau est le premier grand parc public montréalais (constitué en 1874, avant le mont Royal), et jouit depuis 2007 du statut de site patrimonial. Le projet de valorisation et de développement Horizon 2017 totalise 159,7 millions de dollars étalés depuis 2012, jusqu’en 2017.
  4. Montréal dévoile la plus coûteuse oeuvre d’art public au Québec Le collectif d’artistes BGL réalisera l’oeuvre de 1,1 million de dollars 30 août 2013 | Isabelle Paré , Frédérique Doyon | Arts visuels <section class="retenir retenir_paysage">Tous nos textes sur l'art public Pour lire notre série Décryptage sur l'art public </section>La Ville de Montréal annoncera ce vendredi matin l’octroi de 1,1 million de dollars au collectif d’artistes BGL art contemporain de Québec pour la réalisation de la plus coûteuse oeuvre d’art public jamais réalisée au Québec. Intitulée « La vélocité des lieux », l’oeuvre monumentale dominera du haut de ses 63 pieds le carrefour réaménagé à l’angle des boulevards Pie-IX et Henri-Bourassa, dans l’arrondissement Montréal-Nord. Le concept du collectif d’artistes, entériné ce mercredi par le comité exécutif, sera dévoilé par le maire de Montréal, Laurent Blanchard, et la conseillère indépendante Hélène Ayotte, responsable de la culture, du patrimoine et du design. Au cours des derniers mois, la question de l’art public, dopée par le débat sur le déplacement de L’homme de Calder, a divisé les divers partis municipaux, devenant un des nombreux enjeux électoraux. Choisie à l’unanimité par le jury le 19 juillet dernier, l’oeuvre de BGL sera la plus imposante jamais réalisée au Québec dans le cadre de concours tenus par le Bureau d’art public de Montréal et par le Bureau d’intégration des arts à l’architecture du ministère de la Culture. Le budget dépasse largement le « 1 % » du budget global de construction normalement dévolu aux oeuvres d’art public. L’installation trônera sur la nouvelle « entrée de ville » du carrefour Pie-IX/Henri-Bourassa, dont la réfection atteindra à terme près de 50 millions (chiffres de 2012) et s’échelonnera jusqu’en 2016. Le comité exécutif soutient que l’oeuvre contribuera à faire de ce carrefour un lieu « identitaire et emblématique » pour Montréal. Le carrefour routier ainsi enjolivé deviendra la plus distinctive des six portes d’entrée du nord de l’Île. Le coût de l’oeuvre est compris dans les 14,5 millions prévus au Programme triennal d’immobilisations 2013-2015 pour la transformation de cet échangeur dangereux, depuis longtemps considéré comme une plaie urbaine. La vélocité des lieux bouleversera la notion d’oeuvre d’art et « développera un nouveau public pour l’art contemporain », indiquent les artistes dans leur descriptif. L’installation doit prendre la forme d’un arc constitué d’autobus, faisant le pont au-dessus d’un groupe d’arbres et de maisons, ajoutent-ils. Le collectif BGL (Jasmin Bilodeau, Sébastien Giguère et Nicolas Laverdière) s’est fait remarquer depuis 16ans par ses installations audacieuses qui remettent en question le rapport de l’homme à son environnement et le caractère factice de l’objet. Plusieurs de leurs oeuvres font partie des collections du Musée des beaux-arts du Canada, du Musée des beaux-arts de Montréal et du Musée d’art contemporain de Toronto. « Championne » toute catégorie des budgets d’art public, La vélocité des lieux, qui sera installée à l’automne 2015, devance de loin le montant record de 723 000 $ attribué le printemps dernier à Sans titre, de Stephen Schofield, qui ornera en 2014 la rue Jeanne-Mance, au sud de la place des Festivals. Troisièmes au palmarès municipal, les sculptures de Melvin Charney, installées en 1992 sur la place Émilie-Gamelin, avaient coûté à l’époque 350 000 $
  5. Commerce Design Montréal Toggle navigation À propos de Commerce Design Montréal La Ville de Montréal célèbre cette année le 20e anniversaire de la création des Prix Commerce Design Montréal, une initiative montréalaise dont le succès fait écho depuis plus de dix ans dans plusieurs villes d’Europe, du Canada et des États-Unis. Les efforts soutenus dans ce programme ont contribué à sensibiliser les commerçants et le public à la valeur ajoutée du design. Ils ont insufflé une remarquable progression dans la qualité des lieux que l’on fréquente et l’expérience qu’ils nous procurent. C’est sur cette lancée que la Ville de Montréal poursuit son action et récompense celles et ceux à qui l’on doit cette heureuse transformation. Les lauréats se retrouvent au cœur d’une campagne de promotion et de relations de presse d’envergure qui vise à les faire connaître auprès du grand public, contribuant à leur notoriété et à l’accroissement de leur volume d’affaires. Cette récompense confère aux Prix Commerce Design Montréal toute leur originalité. Un trophée, création du designer industriel Claude Maufette, est attribué aux lauréats (commerçants et designers) qui sont aussi pourvus d’autres outils promotionnels visibles signalisant leur distinction. Historique Commerce Design Montréal a été créé en 1995 dans le but de faire valoir auprès des commerçants montréalais les bénéfices d’investir dans la qualité de l’aménagement de leur établissement avec l’aide de professionnels qualifiés. La raison d’être de cette activité est encore et toujours de développer le marché du design commercial à Montréal pour : améliorer la qualité du cadre de vie et rendre la Métropole plus attrayante; augmenter la compétitivité des commerces; accroître la demande locale pour les services professionnels en aménagement commercial. Les objectifs visent à créer un effet d’entraînement auprès d’autres commerçants, de convaincre ces derniers du bien-fondé du design pour leur succès en affaires et d’avoir un effet structurant sur la revitalisation et la dynamisation des rues commerciales. L’effort public et parapublic pour sensibiliser les commerçants montréalais au design a été sans relâche de 1995 à 2004. L’étude d’impacts alors réalisée avait démontré que le programme a concrètement développé, en dix ans, le marché en design de commerces et induit l’effet d’entraînement recherché. La qualité promue par les Prix Commerce Design Montréal s’est avéré un axe de communication très porteur pour la candidature de Montréal Ville UNESCO de design dont la désignation a été obtenue en 2006. Après dix ans de succès, un élargissement et un repositionnement vers d’autres secteurs d’activités étaient nécessaires. Il s’imposait alors de sensibiliser de nouveaux acteurs à l’amélioration de la qualité du design dans la ville. En 2005, le prolongement de l’action de Commerce Design Montréal fut confié à Créativité Montréal qui réalisa, de 2006 à 2008, trois éditions des Prix Créativité Montréal. De son côté, la Ville de Montréal continua de transférer son expertise et céder des licences à d’autres villes qui reprisent le concept original. « Commerce Design » est devenu une marque de commerce officielle de la Ville de Montréal en 2014. En relançant le programme en 2015, Montréal souhaite continuer à inspirer d’autres villes, à faire grandir le réseau et voir évoluer son concept puis, engendrer des retombées probantes sur son territoire grâce au partage d’expériences. Les grandes étapes de Commerce Design Montréal Appel de candidature : l’objectif est de recruter une centaine de participants d’une grande diversité ; des commerces de tous types et envergure, répartis sur le territoire de l’île de Montréal, récemment aménagés avec l’aide d’un professionnel en design ou en architecture. Jury : le jury retient, suivant l’analyse des dossiers et le visionnement des photos, une quarantaine de commerces finalistes qu’il visite lors d’une tournée d’observation. Il sélectionne 20 commerces et concepteurs lauréats, ex aequo. Parmi les critères qui guident les jurés, la mise en contexte est cruciale, car la sélection vise à refléter plusieurs réalités commerciales à Montréal, afin que les commerçants qui songent à investir dans le design de leur commerce puissent s’identifier et s’inspirer de l’un ou l’autre des établissements primés. Les Prix du jury sont annoncés lors d’une soirée festive qui réunit des centaines d’invités. Rencontres avec les designers : le public est invité à découvrir, lors du weekend « Venez, voyez, votez! » les 13 et 14 juin 2015, les 20 commerces lauréats sous l’angle du design, alors que les concepteurs sont sur place pour accueillir visiteurs et clients et expliquer leur démarche créative. Prix du public : du 11 mai au 31 août 2015, le public peut voter en ligne ou à l’aide d’un bulletin de vote pour son commerce préféré parmi les 20 lauréats. Au terme de la campagne « Votez avec vos yeux!», le commerce qui récolte le plus grand nombre de votes est proclamé « Prix du public » lors d’un événement de presse. Des cartes et chèques-cadeaux échangeables dans les commerces primés sont tirés au hasard parmi les votants, bouclant ainsi la boucle. Voir les partenaires et collaborateurs Prix Frédéric-Metz En août 2014, le milieu du design a perdu un grand pédagogue, un communicateur exceptionnel, un militant en faveur de la qualité en design : Frédéric Metz (1944-2014). Professeur associé à l’École de design, membre fondateur du Centre de design et de l’École supérieure de mode de l’UQAM, il est une figure marquante du design au Québec. Pour perpétuer sa pensée, la Société des designers graphiques du Québec (SDGQ), l’Université du Québec à Montréal (UQAM) et le Bureau du design de la Ville de Montréal lui rendent hommage en créant le Prix Frédéric-Metz dans le cadre des Prix Commerce Design Montréal 2015, un programme qu’il affectionnait tout particulièrement et auquel il a collaboré pendant plusieurs années. Le Prix Frédéric-Metz récompensera un établissement primé parmi les 20 Prix du jury dont le design (intérieur, graphique) parfaitement intégré, inspirant et efficace « facilite la vie, élève la beauté, la fonction et le sens, adoucit l’expérience, et constitue une valeur ajoutée à la vie quotidienne ». Un trophée, aux couleurs du personnage Metz, sera attribué aux lauréats lors d’une cérémonie spéciale le 14 septembre prochain. Une vidéo produite par deux étudiants en communications de l’UQAM, Gabriel Lajournade et Amélia Blondin, sous la direction artistique de Philippe Lamarre, président sortant de la Société des designers graphiques du Québec, a été réalisée pour l’occasion. Les plus proches collaborateurs et amis de Frédéric Metz témoignent de leur amitié et de leur admiration pour son travail et son legs pour les générations futures. sent via Tapatalk
  6. Publié le 28 avril 2015 à 12h25 | Mis à jour à 12h25 Aménagement: les finissants s'exposent Le vernissage aura lieu le jeudi 30 avril à partir... (Photo fournie) Agrandir Le vernissage aura lieu le jeudi 30 avril à partir de 18h, et l'exposition sera ouverte au public le vendredi 1er mai et le samedi 2 mai entre 12h et 16h. PHOTO FOURNIE Ma Presse Sophie Ouimet-LamotheSOPHIE OUIMET La Presse Comme chaque année, la Faculté de l'aménagement de l'Université de Montréal ouvre ses portes au public pour son exposition de finissants. Plus de 250 projets seront présentés dans les locaux de la Faculté, toutes disciplines confondues: architecture, architecture de paysage, design industriel, design d'intérieur, design urbain et design de jeux. Cette année, l'exposition explore la dualité entre le fond et la forme dans la création. Le vernissage aura lieu le jeudi 30 avril à partir de 18h, et l'exposition sera ouverte au public le vendredi 1er mai et le samedi 2 mai entre 12h et 16h. Fond Forme Université de Montréal, Faculté de l'aménagement 2940, chemin de la Côte-Sainte-Catherine sent via Tapatalk
  7. <header id="page-header"> 24/10/2016 Mise à jour : 24 octobre 2016 | 19:48 Ajuster la taille du texte [h=1]KM3: un parcours d’une vingtaine d’œuvres d’art public pour le 375e[/h] Par Laurence Houde-Roy Métro </header> <figure> <figcaption> Paquet de lumière, de Gilles Mihalcean, est l'une des deux œuvres d'art permanentes du parcours KM3. Elle sera installée en face de la Maison symphonique de Montréal au coût de 672 603$. </figcaption> </figure> Un parcours d’une vingtaine d’œuvres d’art public temporaires et permanentes intitulé KM3 sera créé à l’automne prochain et installé sur l’ensemble du territoire du Quartier des spectacles, à l’occasion du 375e anniversaire de Montréal. Ces créations, principalement installées autour de l’axe de la rue Sainte-Catherine, seront sur la place publique du 31 août au 15 octobre 2017. Décrit comme le «plus important événement d’art public temporaire extérieur à Montréal», le projet orchestré par le Partenariat du Quartier des spectacles invitera des créateurs québécois «reconnus pour leur contribution dans le domaine de l’art public, mais aussi des créateurs qui auront la possibilité de s’exprimer pour la première fois dans l’espace public» à créer ces oeuvres. L’appel à ces créateurs et les commandes seront passés au courant de la prochaine année. <aside class="related-articles"> </aside> «L’événement mettra en valeur les arts visuels, l’art urbain, l’art numérique, le design et l’architecture en occupant des murs d’édifices, des places publiques et des lieux inusités», indique le Partenariat du Quartier des spectacles. Paquet de lumière, de Gilles Mihalcean, sera installée en face de la Maison symphonique de Montréal Seulement deux oeuvres de ce parcours ont été dévoilées lundi. Contrairement au reste des oeuvres, celles-ci seront permanentes et seront acquises par la Ville de Montréal. Elles seront situées sur la rue Émery, en face du cinéma Quartier Latin, et sur le Parterre, en face de la Maison symphonique de Montréal. Une troisième oeuvre permanente sera dévoilée. À la fin de cette édition, les installations artistiques iront rejoindre la collection permanente du Partenariat du Quartier des spectacles et pourront être présentées ailleurs dans le monde. Lux Obscura, de Jonathan Villeneuve, sera installée sur la rue Emery, en face du cinéma Quartier Latin Le Quartier des spectacles souhaite faire de KM3 un événement bisannuel et en faire une offre touristique importante. La scénographie de cette première édition a été confiée à Melissa Mongiat et Mouna Andraos, à qui l’on doit notamment les fameuses 21 Balançoires. <aside class="stat-highlight"> 2,5M$ L’aide financière de 2,5 M$ provenant de la Ville de Montréal et le gouvernement du Québec permettra la réalisation de plusieurs oeuvres temporaires (1,5 M$), puis la création de deux nouvelles oeuvres d’art public permanentes (1 M$) acquises par la Ville de Montréal. </aside> KM3: un parcours d’une vingtaine d’œuvres d’art public pour le 375e | Metro
  8. This is a proposed plan for Toronto for the next 15 years. (Courtesy Toronto Star)
  9. Source: Société immobilière du Canada Location: Montréal Un nouvel appel public de déclaration d’intérêt a été publié à la section des appels d’offres, au sujet de la propriété de la SIC à Longueuil, au Québec. Vous pouvez consulter l’entente de partenariat pour un développement immobilier en cliquant ici.
  10. En 26 lettres, l’exposition ABC : MTL brosse un portrait multiforme de la métropole québécoise à partir de propositions d’artistes et du public Isabelle Paré 13 novembre 2012 Arts visuels Photo : Collection CCA. Don de La fondation Sandra et Leo Kolber. © Olivo Barbieri Né d’un vaste coup de sonde lancé au public en juin dernier par le CCA, ABC : MTL est en perpétuel mouvement, les propositions devant être remplacées périodiquement par de nouvelles d’ici mars 2013. Ici, Le parc d’amusement de La Ronde et le pont Jacques-Cartier, Montréal, 2004, une photographie d’Olivo Barbieri. À RETENIR MTL : ABC, un autoportrait de Montréal Au Centre canadien d’architecture, du 13 novembre 2012 au 31 mars 2013 Un autoportrait de Montréal en 26 lettres ? Cela donne Montréal qui rime avec culte, citoyen, ruelle, soccer et… urgence. ABC : MTL n’est pas une exposition, mais bien une conversation en 3D, une machine à penser la ville imaginée et lancée mercredi par le Centre canadien d’architecture (CCA). Abécédaire échevelé né d’un appel de projets lancé aux artistes et au public, l’exercice accouche d’un portrait-robot de la ville aux cent clochers, à mille lieues des idées reçues et des trappes à touristes. « L’idée n’était pas de faire une exposition, mais d’inventer une façon d’investir l’imaginaire de la ville contemporaine. Ce sont des voix, des conversations sur des moments quotidiens, qui sont appelés à changer au fil des mois », a expliqué hier Mirko Zardini, directeur et conservateur en chef du CCA, pour expliquer la teneur de ABC : MTL, un projet inédit dans le paysage muséal. Oubliez les incontournables icônes, lieux symboliques et autres marqueurs du paysage de l’ancien Hochelaga, l’autoportrait de la ville tracé par ces voix plurielles venues d’ici et d’ailleurs est complètement inopiné. Montréal s’y dévoile en un puzzle d’impressions urbaines, une mosaïque collective s’intéressant autant à l’environnement bâti, aux espaces délaissés, à la vie de ses habitants qu’à ses incongruités quotidiennes. Né d’un vaste coup de sonde lancé au public en juin dernier par le CCA, l’autoportrait urbain en 26 lettres est en perpétuel mouvement, les propositions devant être remplacées périodiquement par de nouvelles d’ici mars 2013. Le but : traduire par une idée le profil physique et social de la métropole et l’incarner dans une lettre. Carte blanche fut laissée aux participants sur les moyens de transposer l’essence de leur ville. Sur les 250 propositions reçues sous forme d’images, de clips, de textes, de performances, de poésies, de plans et plus encore, au moins le tiers est venu du grand public. Dix collaborateurs connus, dont Atelier Big City, Saucier + Perrotte Architectes, DHC/ART, Héritage Montréal, l’ONF et Fonderie Darling, se sont associés de près à cet exercice démocratique « in progress ». Montréal en toutes lettres Si le CCA a sélectionné les 26 premières idées de départ, là s’arrête le contrôle sur le contenu de cette image en mouvement qui a l’allure des forums sur Internet. L’exercice intuitif révèle, et révélera encore, des surprises. L’économie, l’industrie, la corruption sont absentes de cette photo de famille - et pourtant ! Mais de nouvelles idées viendront se greffer au profil de cette métropole dressé à chaud. À terme, 90 projets seront présentés en rotation. « En fait, le résultat est tout à fait cohérent avec le flou actuel qui règne à Montréal. La réponse obtenue du public distille cette impression d’une multitude de visions sans liens entre elles, sans consensus », explique le directeur du CCA. De A à Z Voici en quelques lettres, quelques extraits de cet abécédaire populaire, construit tant par les Montréalais que par le regard de visiteurs de passage. Nicolas Baier, Réminiscence, 2011 DHC/ART, Fondation pour l’art contemporain E comme dans Exil. Avec 30 % d’immigrants, Montréal est devenu une terre d’asile. Cette réalité transpire d’Histoires de vie, un projet vidéo de l’Université Concordia, qui s’immisce dans la vie de quatre Montréalais forcés de quitter leurs pays d’origine en raison de la guerre ou de violation de leurs droits. C comme dans Citoyen. Les policiers casqués ont marqué l’imaginaire des derniers mois. Iconoclaste, la photographe Emmanuelle Léonard campe les policiers de l’anti-émeute de façon humaniste, déboulonnant l’agressivité associée à leur image. L’anti-matricule 728. I comme dans Independent. Montréal est devenue la capitale de la musique Indie, avec l’émergence des Arcade Fire, Grimes, Miracle Fortress, The Dears, Bran Van 3000 et autres icônes de la scène musicale indépendante. Des vidéos de ces divers groupes sont diffusées chaque soir à 17 h au CCA. I comme dans Island. Montagne d’ambitions, tonnes d’inertie. La photo de Gabor Szilasi du slogan « La fierté à une ville », opposé à la zone délaissée sous le pont Jacques-Cartier, est un rappel cinglant de l’immobilisme qui continue de sévir à Montréal. Prise il y a près de 30 ans, cette vue du pont Jacques-Cartier depuis la rue Notre-Dame est en tout point identique à ce que l’on y retrouve aujourd’hui. Gabor Szilasi, Série d’enseignes lumineuses, La Fierté a une ville, Montréal. 1983. CCA Collection. ©Gabor Szilazi M comme dans Montroyalite. Le photographe Robert Burley a saisi avec son objectif une trace de l’unicité géologique de Montréal. Montagne surgie dans la plaine, le mont Royal est formé d’une roche ignée unique appelée la montroyalite. Robert Burley, Roche dans les bois, Mont Royal, 1990. Collection CCA. ©Robert Burley P comme dans Partition. Le collectif Audiotopie présente une partition faite à partir de bruits ambiants recueillis dans les couloirs souterrains de Montréal. L’expérience immersive nous entraîne de la station de métro Square-Victoria à la station Place-d’Armes. Parcours Reso-électro - L'Audiotopie (extrait mp3) S comme dans Soccer. Sport fédérateur entre tous à Montréal, le soccer donnera vie au Complexe de soccer à Saint-Michel. Le projet de Saucier + Perrotte redonnera en sus vie à l’ancien dépotoir Miron, pour en faire un des plus grands parcs de la ville. Mais l’alphabet ne s’arrête pas là. À ce portrait en toutes lettres s’ajoutent conférences et discussions au CCA avec les auteurs de ces vignettes montréalaises. D’autres lettres, et des capitales, viendront s’ajouter en décembre, janvier et février à cette série. Dont C pour Concrete, une sculpture de béton, formée de fragments de bitume récemment tombés de diverses infrastructures montréalaises… Ouille.
  11. The story of young people, full of ambition, energy, skill and talent, moving to enticing cities that call to them like a siren’s song is as old as modern civilization. And in a world where national borders are easier to traverse, where more countries are joining the prosperous global middle class and where the cost of a one-way plane ticket is more affordable, young professionals probably have more cities to choose from than ever before. This survey is not based solely on quality of life, number of trees or the cost of a month’s rent. Instead, we examine some cities that aim to be both smart and well managed, yet have an undeniably hip vibe. Our pick of cities that are, in a phrase, both great and good: Auckland With its beaches, inlets and lush coastal climate, the Kiwi metropolis has always had great natural beauty going for it (and, now, for the first time in 24 years, it is the home to the World Cup Rugby Champions). But we digress. Currently counting 1.5 million residents , the government is projecting the city to hit the two million-mark in just 30 years. The city has recently voted to create a new central core that mixes sustainable housing and mixed-use development. The public transportation system, which includes subways, trams, busses and ferries, is constantly being expanded. Measures to increase the density of the urban landscape, meant to ultimately prevent encroachment on surrounding lands, as well as planting “green carpets” along urban roads demonstrate a keen eye toward creating a greener future. Plus, the city is expanding its free Wi-Fi coverage, according to a city official. Auckland is doing its best to “up their game with urban design,” said Angela Jones, a spokesperson for the city, turning a beautiful but provincial capital into a smart city. Berlin This culture capital combines low rents, a white-hot arts scene, good public transportation and myriad creative types — from media to design to technology — from all over the world. Known as Europe’s largest construction zone for at least 10 of the past 20 years, 4.4-million-strong Berlin has probably changed more in that time than any other large European city. And while the restaurants have become more expensive, the clothes are now more stylish and the D.J.’s have added more attitude, there is still plenty of real city left to be discovered by the thousands of artists and young professionals who move here every year to make this the pulsing center of Germany, the powerhouse of Europe. Besides radical renovations to the government center, main train station and the old Potsdamer Platz, the city recently turned a historic airport in its heart into a vast urban park. A short-term bike-rental system is in place and the old subway system, reunited after the fall of the wall, like the city itself, is as efficient as ever. Besides artists and bohemians looking for the vibe, the city — home to several prestigious universities, research institutes and many a company headquarter — is brimming with smart scientists and savvy businessmen. Barcelona Anyone who has walked down Las Ramblas on a summer evening or has stared at the Sagrada Familia for long enough understands why this city attracts planeloads of tourists. Music, good food, great weather and strong technology and service sectors compete to make this city of 1.6 million a home for all those who want to stay beyond summer break. If all the traditional charms of Barcelona were not enough, an active city government is trying to keep this city smart, too. Under its auspices, photovoltaic solar cells have been installed on many public and private rooftops. Charging stations for electrical cars and scooters have recently been set up around the city, in preparation for the day when residents will be tooling around in their electric vehicles. A biomass processing plant is being built that will use the detritus from city parks to generate heat and electricity, and free Wi-Fi is available at hotspots around the city. Cape Town Wedged between sea and mountain, Cape Town’s natural setting is stunning. Nor does the city — with its colorful neighborhoods, historic sites, and easy charm — disappoint. And while its one of Africa’s top tourist destinations, it also attracts many new residents from around the globe. The local government is trying to lead the growing city of 3.5 million with a more inclusive government and development structure, to overcome the gross inequities of South Africa’s past. Four major universities and many research institutes make Cape Town one of the continent’s bustling research centers. Named the 2014 World Design Capital last month, the city government is encouraging a cluster of design and creative firms in a neighborhood called the Fringe. The 2010 World Cup of soccer was a boon for infrastructure, especially public transportation. A new bus system, with dedicated lanes, has been rolled out in recent years to keep the many suburbs connected and alleviate crushing traffic. Under a program called Smart Cape, libraries and civic centers have computer terminals with free Internet access. Poverty and crime are still issues in Cape Town, but overall quality of life indicators rank the city as one of the best in Africa. Copenhagen Progressive, cozy and very beautiful, the young and the elegant flock to this northern light. Rents might not be as low as in other hip cities, but the social infrastructure in this metropolitan area of 1.9 million cannot be beat. Offering a prosperous blend of art, culture and scene, this highly tolerant city is attracting young professionals lucky enough to work in the center of Danish industry and commerce. A mix of stately old European buildings and modern, green-oriented architecture speaks of a city that treasures the old but loves experimenting with the new. Despite its cool Scandinavian climate, the Danish capital might just be the most bicycle-friendly city in the world. Bike superhighways crisscross the city, and statistics show that more than a third of the city’s inhabitants commute to work or school on their trusty two-wheelers. A metro system was inaugurated in the last decade for those who choose to go without. With sunlight-flooded underground stations and clean, driverless subway cars, the system looks more like a people-mover at an international airport than an urban transport system. Having committed itself to reducing carbon levels by 20 percent before 2015, some of the city’s power is generated by wind. The city has been so successful in cleaning up its once-industrial harbor that it has been able to open three public baths in a harbor waterway. Curitiba, Brazil One of the smartest cities in Latin America, Brazil’s wealthy regional capital attracts many new inhabitants with jobs in service and production sectors, and with the promise a functioning city. The 1.7 million residents have access to a bus-based rapid transport system so good that more than 700,000 commuters use it daily. Buses run on designated lanes that, because of a unique and modern urban design, have right-of-way and preferred access to the city center. A beautiful botanical garden and other city parks, along with other strong environmental measures, keep the air largely clear of pollution, despite Curitiba’s land-locked location. The city strives to be sustainable in other ways, too. According to reports, it recently invested $106 million, or 5 percent, of its budget into its department of environment. The city government makes itself integral in the lives of Curitibans, not just seeking comment and feedback on policies, but also organizing a host of events. “Bike Night” is the latest craze in the active city. Each Tuesday, residents take to their bikes and peddle through the night, accompanied by municipal staff members. Montreal With its hearty French and North American mix, this city of 3.6 million has a real soul thanks to low living costs and long winter evenings. And it is no slouch when it comes to good food, hip culture, well-appointed museums and efficient transportation. With four major universities and plenty of bars, the nightlife in this bilingual city has a well-deserved reputation. Because the winters tend to be long and cold, the city possesses an extensive underground network connecting several downtown malls and a subterranean arts quarter. When spring finally does arrive, and snow is cleared from the many bike paths, the city puts out its 3,000 short-term-rental bicycles, known as Bixi. City-sponsored community gardens are sprouting around town, giving urbanites a chance to flex their green thumb. Montreal is an incredibly active town where festivals celebrating everything from jazz to Formula One dominate the city’s calendar during the summer. Thanks to Mount Royal, a large central park and cemetery that serves as cross-country, snowshoe and ice-skating terrain in the winter and becomes a verdant picnic ground and gathering spot in the summer, Montrealers never have to leave city limits. Santiago A vibrant mix of Latin American culture and European sensibility, this Chilean city is modern, safe and smart. The rapidly growing city of 6.7 million — , which, perhaps surprisingly, was first subject to urban planning mandates in the mid-20th century — is still ahead of others in South America when it comes to urban governance. A law curtailing urban sprawl and protecting the few natural spaces close to the city is exemplary. Beautiful old cultural jewels like the library and fine art museum are dwarfed by serious commercial skyscrapers. The smell of local food, good and inexpensive, brings life even to the streets of its financial district. One of the most extensive public transport systems on the continent whisks more than 2.3 million commuters to and from work or school every day. Because of its high altitude, pollution is a problem — one that the national government is trying to curb with various green initiatives. Short-term bike rentals exist in one of the more active parts of town, and significant city funds have been used to construct bicycle lanes. For a city this modern, however, Santiago has few parks. But the ocean is just a short drive to west and the mountains to the east. Shanghai China’s commercial heart has grown tremendously in the past couple of decades. Attracting young professionals with its jobs and opportunities rather than with museums and hip nightlife, this megacity of 23 million is surprisingly smart. Its top-down urban planning approach is efficient in a city made up of separate 16 districts and one county. City coffers are put to use building enormously ambitious infrastructure, like a deepwater port, tunnels, bridges and roadways. A good indicator for the rapid and deliberate growth of the city is the metro system. First opened in 1995, it is now the world’s longest subway network, according to city officials. Adding a futuristic aspect to the utilitarian system is a Maglev (magnetic levitation) line that connects the airport to the city, and on which the train travels at speeds of up to 431 kilometers, or 268 miles, per hour. But Shanghai’s urban development is also green. The city claims that it put the equivalent of $8 billion into environmental improvement and cleanup, which include sewage treatment systems but also an impressive number of city parks. In addition, Shanghai has made its city government more accessible by running a Web site were residents can find municipal information, and read a blog entitled “mayor’s window.” Vilnius, Lithuania One of the greenest of the former Eastern bloc capitals, Vilnius has a forward-thinking city government. In a recent Internet video that spread virally, the mayor, Arturas Zuokas, is seen crushing a Mercedes parked on a bike path with a tank. Beyond the obvious political theater of the stunt, the city, whose metropolitan area population is 850,000 takes providing good public transportation seriously. A recent study suggested that some 70 percent of the capital’s citizens either walk, bike or take the bus. Vilnius, a verdant city that despite some communist architectural clunkers is charmingly medieval and surprisingly well maintained, boasts an old town that is a Unesco world heritage site. After the fall of the old regime, the city took great pains to retool its waste disposal systems, building a modern landfill in 2005. The capital attracts young professionals, and not just from Eastern Europe, who see in Vilnius a rising star in business and appreciate all that the extensive cultural scene in the little capital has to offer.
  12. Play the City Play the City uses gaming to engage multiple stakeholders in resolving complex urban challenges. Changing the way we engage stakeholders, Play the City designs physical games as a method for collaborative decision making and conflict resolution. We tailor our games according to the questions of our clients. These can relate to large urban projects, refugee camps, violence prevention and other multi-stakeholder challenges societies face. We use gaming as a problem-solving method bringing top down decision makers together with bottom up stakeholders. In the accessible environment of games, freed from the jargons, various ideas, plans and projects meet, conflict and collaborate towards negotiated outcomes. We believe gaming is the real alternative to standard formats of public consultation in the 21st century. Our method has been acknowledged internationally and has been implemented for large-scale projects in Amsterdam, Istanbul, Brussels and Cape Town. You can gain more insight by clicking our projects page. sent via Tapatalk
  13. (Courtesy of The Montreal Gazette) I guess that is a step in the right direction
  14. Québec et Montréal achètent le Centre Bell ! Blogues - Martin Leclerc sur le trottoir Dimanche, 13 février 2011 12:25 On ne pourra pas accuser Jean Charest de ne pas être conséquent. Par souci d’équité avec la ville de Québec, le premier ministre participera à une importante conférence de presse aux côtés du maire Gérald Tremblay, la semaine prochaine, afin d’annoncer que son gouvernement, conjointement avec la Ville de Montréal, se portera acquéreur du Centre Bell pour la somme de 400 millions de dollars, a appris Selon nos sources, le bureau du premier ministre s’est rendu aux arguments défendus par le maire Régis Labeaume au cours de la dernière année : un amphithéâtre multi-fonctionnel est avant tout un équipement public – « Il n’y a pas plus public que ça ! » – dans lequel l’entreprise privée n’a absolument aucun intérêt à investir. « La famille Molson récupérera donc les 400 millions qu’elle a injustement déboursés au profit de la communauté. Il est anormal qu’une métropole de la taille de Montréal ne possède pas un équipement public et un outil de développement aussi indispensable », indique-t-on au cabinet du premier ministre. Les Molson se trouvent du même coup libérés de toutes les charges liées à l’administration et à l’entretien du Centre Bell, dont le Canadien et evenko (la filiale de la famille qui exploite le volet spectacles) deviendront des locataires privilégiés. Le Canadien deviendra un locataire du Centre Bell Taxes municipales Les propriétaires du Canadien paieront des redevances – encore indéterminées – que se partageront ensuite le gouvernement et la Ville de Montréal. Cette opération permettra de corriger une autre injustice commise aux dépends des propriétaires du Canadien. En raison de sa nouvelle fonction, l’amphithéâtre public ne sera plus assujetti aux taxes municipales. Depuis la construction de l’édifice, en 1995, les propriétaires du CH devaient assumer quelque 10 M$ annuellement en taxes municipales et l’organisation avait maintes fois contesté l’évaluation municipale, en vain. Du côté de l’hôtel de ville, on s’est montré beaucoup moins loquace. « Une annonce importante sera faite cette semaine conjointement avec le premier ministre du Québec », s’est-on limité à dire du côté du cabinet du maire Tremblay. Tant à Montréal qu’à l’Assemblée nationale, les stratèges politiques estiment avoir réalisé un coup de maître. Cet investissement de 400 M$ sera vite rentabilisé, dit-on, parce que les joueurs du Canadien paient des impôts. Toujours selon nos sources, Gérald Tremblay entend communiquer avec Gary Bettman immédiatement après la conférence de presse pour lui annoncer que sa ville, en partenariat avec le gouvernement du Québec, a tout mis en œuvre pour favoriser une meilleure exploitation d’une équipe de hockey dans la métropole. Le maire, dit-on, s’en serait voulu jusqu’à sa mort s’il n’avait pas saisi une telle occasion de mieux faire vivre notre sport national. « Les Molson n’avaient aucun intérêt à posséder le Centre Bell parce qu’il n’y a aucun bénéfice ou rendement à tirer de l’édifice proprement dit, explique une autre source proche du maire. L’entreprise privée est plutôt intéressée par les opérations de l’édifice. C’est le rêve que les Molson pourront réaliser avec l’achat du Centre Bell par la Ville et le gouvernement. » Déficit chronique Cette nouvelle acquisition du gouvernement québécois survient alors que pour les contribuables, les hausses d’impôt, les hausses de taxes et les taxes déguisées surgissent de partout. Et à Montréal, la Ville se trouve depuis des années dans une situation de déficit chronique. Au point où le maire implore Québec de hausser la taxe sur l’essence de 5 cents le litre, afin de financer le transport public et l’entretien des routes. « C’est extrêmement réducteur de voir les choses de cette façon, fait valoir un proche du maire Tremblay. Nous vivons en société. Nous vivons en communauté. Pensez-vous que les gens qui nous ont élus manquent d’éthique ou de vision ? » Montréal, nous apprendra-t-on cette semaine, a élaboré un plan financier extrêmement astucieux pour essuyer cette nouvelle dépense sans qu’elle se traduise par une ou des hausses de taxes supplémentaires. Des coupes de postes et l’abolition de certains services aux citoyens, à la hauteur de 200 M$, seront faites avant le dépôt du prochain budget. Ça fait du bien, parfois, de savoir que les élus défendent bec et ongles les vrais intérêts du peuple. Comme ça fait du bien, de temps en temps, de rédiger un petit texte au second degré.
  15. When NIMBYism is warranted, and when it isn’t Of course, the question is whether a proposed development, infill project or new infrastructure build really does pose a risk to these cherished things. Developers and urban planners must always be cognizant of the fact that there is a segment of the population, a fringe element, who will object to just about anything “new” as a matter of principle. I’ve been to many open houses and public consultations for one proposed project or another over the years. There is almost always that contingent of dogged objectors who invariably fixate on the same things: Parking – Will there be enough if the development increases the population density of the neighbourhood or draws more shoppers/workers from elsewhere? Traffic – Will streets become unsafe and congested due to more cars on the road? Transit – Will this mean more busses on the road, increasing the safety hazard on residential streets, or conversely will there be a need for more? Shadowing – is the new build going to leave parts of the neighbourhood stuck in the shade of a skyscraper? These are all legitimate concerns, depending on the nature of the project in question. They are also easy targets for the activist obstructionist. Full and honest disclosure is the best defence Why? Because I see, time and again, some developers and urban planners who should know better fail to be prepared for objections rooted on any of these points. With any new development or infrastructure project, there has to be, as a simple matter of sound public policy, studies that examine and seek to mitigate impacts and effects related to parking, traffic, shadowing, transit and other considerations. It therefore only makes sense, during a public consult or open house, to address the most likely opposition head on by presenting the findings and recommendations of these studies up front in a clear and obvious manner. But too often, this isn’t done. I’ve was at an open house a few years ago where, when asked about traffic impact, the developer said there wouldn’t be any. Excuse me? If your project adds even one car to the street, there’s an impact. I expect he meant there would be only minimal impact, but that’s not what he said. The obstructionists had a field day with that – another greedy developer, trying to pull the wool over the eyes of honest residents. This is a marketing exercise – treat it like one This is ultimately a marketing exercise – you have to sell residents on the value and need of the development. Take another example – a retirement residence. With an aging population, we are obviously going to need more assisted living facilities in the years to come. But in this case, the developer, speaking to an audience full of grey hairs, didn’t even make the point that the new residence would give people a quality assisted-living option, without having to leave their community, when they were no longer able to live on their own. I also hear people who object to infill projects because they think their tax dollars have paid for infrastructure that a developer is now going to take advantage of – they think the developer is somehow getting a free ride. And yet, that developer must pay development charges to the city to proceed with construction. The new build will also pay its full utility costs and property taxes like the rest of the street. City hall gets more revenue for infrastructure that has already been paid for, and these additional development charges fund municipal projects throughout the city. Another point, often overlooked – when you take an underperforming property and redevelop it, its assessed value goes up, and its tax bill goes up. The local assessment base has just grown. City hall isn’t in the business of making a profit, just collecting enough property tax to cover the bills. The more properties there are in your neighbourhood, the further that tax burden is spread. In other words, that infill project will give everyone else a marginal reduction on their tax bill. It likely isn’t much, but still, it’s something. Developers must use the facts to defuse criticism Bottom line, development is necessary and good most of the time. If we didn’t have good regulated development, we would be living in horrid medieval conditions. Over the last century and a bit, ever growing regulation have given us safer communities, with more reliable utilities and key services such as policing and fire. Yes, there are examples of bad development, but if we had none, as some people seem to want, no one would have a decent place to live. It just astonishes me that developers and urban planners don’t make better use of the facts available to them to defuse criticism. It’s so easy to do it in the right way. Proper preparation for new development public information sessions is the proponent’s one opportunity to tell their story, and should not be wasted by failing to get the facts out and explaining why a project is a good idea. To discuss this or any other valuation topic in the context of your property, please contact me at [email protected] I am also interested in your feedback and suggestions for future articles. The post Why do public planning projects go off the rails? appeared first on Real Estate News Exchange (RENX). sent via Tapatalk
  16. MVRDV and ADEPT win Copenhagen high-rise competition with design ‘Sky Village’ The municipality of Rødovre, an independent municipality of Copenhagen, Denmark, announced today MVRDV and co-architect ADEPT winner of the design competition of the Rødovre Skyscraper. The 116 meter tall tower accommodates apartments, a hotel, retail and offices. A public park and a plaza are also part of the privately funded scheme. The new skyscraper with a total surface of 21,688 sq m will be located at Roskildevej, a major artery East of the centre of Copenhagen. It is, after the Frøsilos, MVRDV’s second project in Copenhagen. The skyscraper is shaped to reflect Copenhagen’s historical spire and present day high-rise blending in the skyline of the city, it further combines the two distinctive typologies of Rødovre, the single family home and the skyscraper in a vertical village. Consideration of these local characteristics leads to Copenhagen’s first contemporary high-rise. Responding to unstable markets the design is based on a flexible grid, allowing alteration of the program by re-designating units. These ‘pixels’ are each 60m2 square and arranged around the central core of the building, which for flexibility consists of three bundled cores allowing separate access to the different program segments. On the lower floors the volume is slim to create space for the surrounding public plaza with retail and restaurants; the lower part of the high rise consists of offices, the middle part leans north in order to create a variety of sky gardens that are terraced along the south side. This creates a stacked neighbourhood, a Sky Village. From this south orientation the apartments are benefitting. The top of the building will be occupied by a hotel enjoying the view towards Copenhagen city centre. The constellation of the pixels allows flexibility in function; the building can be transformed by market forces, however at this moment it is foreseen to include 970 sq m retail, 15,800 sq m offices, 3,650 sq m housing and 2,000 sq m hotel and a basement of 13,600 sq m containing parking and storage. Flexibility for adaptation is one of the best sustainable characteristics of a building. Besides this the Sky Village will also integrate the latest technologies according to the progressive Danish environmental standards. Furthermore the plans include a greywater circuit, the use of 40% recycled concrete in the foundation and a variety of energy producing devices on the façade. A public park adjacent to the Sky Village is part of the project and will be refurbished with additional vegetation and the construction of a ‘superbench’, a meandering public path and bench. A playground, picnic area and exercise areas for elderly citizens are also part of the plan. Lead architect MVRDV and co-architect ADEPT Architects won the competition from BIG, Behnisch and MAD. Winy Maas and Jacob van Rijs present the plan today in Copenhagen together with Anders Lonka and Martin Krogh from local office Adept Architects, Dutch engineering firm ABT and Søren Jenssen act as consultants for the project. Earlier MVRDV realised the Frøsilos / Gemini Residence in the port of Copenhagen: a residential project marking a new way in refurbishment of old silo’s which was highly acclaimed and received international awards.
  17. KPF wins planning approval for Gravesend riverside renewal project Kohn Pedersen Fox Associates (London) have won planning approval for a new riverfront development to the north-west of Gravesend Town Centre that combines affordable housing, public amenity space and the restoration of Thames riverside heritage. Clifton Wharf will occupy two brownfield sites separated by West Street. The unique location includes a disused iron railway pier extending out into the Thames. KPF’s proposed re-development advances both the Kent and Medway Structure Plan and the Gravesham Local Plan by redressing the legacy of decline to the environment and infrastructure of this area. It will revitalise Gravesend town centre by bringing life into the neighbourhood though the creation of jobs and much needed accommodation. The scheme comprises 145 residential apartments, a retail unit and provisional river-related uses. The design overcomes the challenge of a split location by means of five sliced ellipsoidal buildings. Cutaway roofs allow for terraces at the top levels; punctuations in the wooden façades provide balconies for lower flats. The buildings, pebble-like in form, sit on a landscaped podium that stretches out in line with the pier. Every building in the cluster uses cutting edge morphology and careful positioning to maximise variety, giving the appearance of differing volumes and heights and taking advantage of the site’s access to unique views and natural light. KPF’s scheme restores the old iron pier and introduces steps and ramps to allow members of the public to get close to the original engineering. The shape and orientation of the pier is echoed and extended inland by the podium which unifies the site and reinforces the connection with the river. The new public walkway, which extends across the road to the pier, provides pedestrian access to the terraces and viewpoints on the water. The relocation of the old river defence wall creates space for proper pavements on West Street and an improved flood protection barrier further to the north.
  18. CBC, VIA Rail considered for auction block: Documents BY ANDREW MAYEDA, CANWEST NEWS SERVICE JUNE 1, 2009 6:49 PM OTTAWA — The federal Department of Finance has flagged several prominent Crown corporations as "not self-sustaining," including the CBC, VIA Rail and the National Arts Centre, and has identified them as entities that could be sold as part of the government's asset review, newly released documents show. In its fiscal update last November, the government announced that it would launch a review of its Crown assets, including so-called enterprise Crown corporations, real estate and "other holdings." Finance Department documents, obtained by Canwest News Service under the Access to Information Act, reveal that the review will focus on enterprise Crown corporations, which are not financially dependent on parliamentary subsidies. Such corporations include the Royal Canadian Mint and Ridley Terminals, which is a coal-shipping terminal in Prince Rupert, B.C. But the documents also reveal that the government will consider privatizing Crown corporations that require public subsidies to stay afloat. "The reviews will also examine other holdings in which the government competes directly with private enterprises, earn income from property or performs a commercial activity," states a Finance briefing note dated Dec. 2, 2008. "It includes Crown corporations that are not self-sustaining even though they are of a commercial nature." In the briefing note, the Finance Department identifies nine Crown corporations that fall in that category, including Atomic Energy of Canada Ltd., the CBC and VIA Rail. The government announced last week that it will split AECL in two and seek private-sector investors for the Crown corporation's CANDU nuclear-reactor business. The Crown asset review comes as the government struggles to contain the country's deficit, now expected to top $50 billion this year. The Jan. 27 budget assumes that the government will be able to raise as much as $4 billion through asset sales by the end of March 2010. The budget identified four federal departments whose Crown assets are being reviewed first: Finance, Indian and Northern Affairs, Natural Resources, and Transport and Infrastructure. VIA Rail is overseen by the Transport Department, while the CBC and the National Arts Centre fall under the portfolio of the Canadian Heritage department. The Finance Department documents confirm that all government assets will eventually be reviewed. Privatizations tend to work well when Crown corporations enter a reasonably competitive market with a good chance of turning a profit, said Aidan Vining, a professor of business and government relations at Simon Fraser University. Unlike successfully privatized firms such as Canadian National Railway, it's not clear that CBC and VIA Rail could operate as profitable ventures while maintaining the public mandates they provided as Crown corporations, he noted. "They're not the classic privatization candidates, where you sell and walk away," said Vining, an expert in Crown corporation privatizations. "Unless, of course, you're prepared to fully withdraw from the public purpose (of the Crown corporation)." Certainly, the sale of a flagship Crown asset such as the CBC would be politically controversial. After the CBC announced this spring that it would lay off hundreds of employees, opposition critics accused the government of turning a cold shoulder to the public broadcaster's struggles. Under the Financial Administration Act, Parliament would have to approve the privatization of any Crown corporation. "It's hard to believe that some of these sales would go forward in a minority Parliament," said Vining. The Finance Department has also begun to examine the government's vast real-estate portfolio, which includes 31 million hectares of land, and more than 46,000 buildings totalling 103 million square metres — more than double the office space available in the Greater Toronto Area, according to the Finance documents. The government's holdings are worth at least $17 billion, Finance officials estimate. A briefing note labelled "secret" said that the Department of Indian and Northern Affairs acquired $7 million in surplus properties between 1998 and 2006 for potential use in land-claims deals. Over the same period, the properties cost $2 million to maintain. Divesting such properties could not only generate revenue for the government, but also cut "ongoing operations and maintenance costs," states the briefing note. A Finance Department spokeswoman said the asset review won't necessarily lead to sales in all cases. "Reviews will assess whether value could be created through changes to the assets' structure and ownership, and report on a wide set of options including the status quo, amendments to current mandates or governance," department spokeswoman Stephanie Rubec said in an e-mail. "In some cases, it may be concluded that selling an asset to a private sector entity may generate more economic activity and deliver greater value to taxpayers." Crown corporations identified by the government as "not self-sustaining": (Company name, commercial revenues, parliamentary subsidy, expenses) Atomic Energy of Canada Ltd., $614.2 million, $285.3 million, $1.3 billion CBC, $565.5 million, $1.1 billion, $1.7 billion Cape Breton Development Corp., $5.1 million, $60 million, $94.1 million Federal Bridge Corp. Ltd., $14.6 million, $31.0 million, $42.9 million National Arts Centre Corp., $26.0 million, $40.6 million, $65.7 million Old Port of Montreal Corp., $16.7 million, $15.1 million, $32.0 million Parc Downsview Park Inc., not available, not available, not available VIA Rail Canada Inc., $293.9 million, $266.2 million, $505.5 million Source: Department of Finance, Public Accounts of Canada Note: Financial results are for 2007-08
  19. 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)
  20. Une centaine d'arbres abattus, deux bâtiments démolis, une chapelle en danger et des vues sur la montagne masquées. Voilà les grandes lignes du projet de transformation extrême de l'ancien collège Marianopolis, situé en plein écoterritoire du mont Royal, sur lequel les élus de la garde rapprochée du maire Tremblay devront se prononcer aujourd'hui. Dans un avis carrément «défavorable», dont La Presse a obtenu copie, et qui sera rendu public aujourd'hui, le Conseil du patrimoine de Montréal recommande que le projet de complexe résidentiel, avec clinique médicale, soit modifié de fond en comble. L'instance consultative estime que le promoteur, Développement Cato inc., devrait par ailleurs refaire ses devoirs pour préserver le site de 16 âcres tout en garantissant un accès au public malgré la nouvelle vocation privée. Depuis que l'ancienne propriété des prêtres de Saint-Sulpice a été mise en vente, en mars 2008, l'organisme de défense du mont Royal, Les Amis de la montagne, a demandé à plusieurs reprises de voir les plans détaillés du futur acquéreur. Mais en vain. Ce n'est qu'aujourd'hui, alors que le projet sera fort probablement soumis à des audiences de l'Office de consultation publique de Montréal (OCPM), un organisme de la Ville sans pouvoir décisionnel, qu'on apprend l'ampleur des travaux et l'impact sur la montagne. Un complexe de 325 logements Dans l'ensemble, il est projeté de recycler l'ancien séminaire de philosophie du chemin de la Côte-des-Neiges en un complexe de 325 logements comprenant des maisons superposées, des unifamiliales isolées et des multiplex. Outre les deux nouveaux immeubles d'une hauteur variant de 3 à 9 étages, le promoteur entend aménager une clinique médicale, possiblement à vocation privée, d'une superficie de 2000 m2, soit l'équivalent de la superficie du tablier du viaduc Rockland. Il est aussi question de creuser une piscine et d'aménager 671 unités de stationnement souterrain. Afin d'analyser le projet et de tirer des conclusions, le Conseil du patrimoine (CPM) s'est basé sur la version finale du plan directeur de développement du promoteur Cato, datée du 7 janvier. À la lumière des maquettes, le CPM en vient à la conclusion que le site aurait dû demeurer à vocation institutionnelle ou publique, et croit qu'il serait temps d'explorer les moyens pour «transférer les droits de développement du promoteur Cato sur un autre site.» Mais comme le site a déjà été vendu pour la somme de 45 millions et que la Ville n'a pas le pouvoir de dire non, le Conseil du patrimoine va de l'avant avec ses recommandations. Au chapitre des arbres, on apprend que l'abattage d'une rangée d'arbres matures doit servir à installer des maisons unifamiliales à l'ouest du site, donc en direction du sommet Westmount. À cet égard, le CPM déplore qu'aucune information n'a été fournie sur les mesures de plantation et les espèces retenues. Tous les travaux de déblai et de remblai projetés font par ailleurs penser qu'on est encore une fois «en train de grignoter les flancs du mont Royal.» Éléphant dans un jeu de quilles Dans un endroit où la circulation est particulièrement délicate, avec des impératifs de développement durable, les ambitions d'ouvrir une clinique médicale et d'aménager 671 unités de stationnement sont aussi vertement critiquées par le CPM. «La capacité d'accueil du site est limitée, note le Conseil. Et compte tenu de la proximité de l'Hôpital général de Montréal et des difficultés probables d'accès à partir de Côte-des-Neiges, il est difficile d'assurer un équilibre.» En ce qui concerne la démolition du centre sportif et de la maison des employés, l'instance patrimoniale estime enfin que la nouvelle construction de neuf étages, plus haute que l'ancienne, cachera la vue sur l'ancien séminaire à partir de l'avenue Cedar. En conséquence, le Conseil craint qu'on répète l'erreur du projet de la Ferme sous les noyers, tout près du séminaire, qui a eu pour effet de rendre invisible la maison rénovée. Informée par La Presse des conclusions du Conseil du patrimoine, la directrice générale des Amis de la montagne, Sylvie Guilbault, partage entièrement l'avis du Conseil, particulièrement au sujet de l'importance d'étudier les façons de transférer au public ou à l'institutionnel les droits de construction. «Ce projet, dans un endroit particulièrement achalandé, avec en plus l'agrandissement prévu de l'Hôpital général de Montréal, constituera un bon test pour les gouvernements. Si on prend juste le nombre de stationnements que le groupe veut construire, c'est effarant», ajoute Mme Guilbault.
  21. New York City fears return to 1970s Tue Jan 27, 2009 By Joan Gralla
  22. Je suis sur le conseil d'administration de l'association professionnelle des guides touristiques de Montréal, l'A.P.G.T. depuis le renouvellement d'octobre 2008. J'en ai déjà été le président en 1997. À l'époque nous avions un bulletin d'information imprimé que nous envoyions par la poste à tous nos membres au moins quatre ou cinq fois par année de façon assez irrégulière et qui s'appelait Info-APGT. Il y avait toutes sortes de rubriques dont toutes avaient un rapport direct avec notre domaine d'activités. Pour diverses raisons, ce bulletin a disparu, a cessé d'être diffusé -bref il n'existe plus. En gros, le nouveau c.a. va le rescussiter mais cette fois en ligne sur notre site internet (qui est littéralement abandonné : aucune mise à jour n'ayant étét fait depuis plus de quatre ans !!). Nous cherchons un titre pour ce nouveau bulletin -qui sera probablement accompagné d'un forum de discussion (peut-être en partie ouvert en public selon mes souhaits et assûrément avec une section ouverte aux seuls guides de Montréal). Le nom actuel me semble dépassé. Notre président a lancé comme ça quelques suggestions : La Pige, Le Pigiste, Le Leader mais je ne suis pas très enthousiasme pour ces trois suggestions. Je souhaite que vous me suggériez ici des noms qui pourraient nous inspirer. Merci d'avance.
  23. Comme quoi, il vaut mieux payer plus d'impôts, mais gagner au change à la longue......
  24. City planners take new look at urban vistas Frances Bula, Special to the Globe and Mail, March 30th, 2009 --------------------- Vancouver’s famous view corridors have prompted more anguished howls from architects than almost anything else I can think of over the years. Now, the city is looking at re-examining them. (And, as the sharp-eyed people at have noted, the posting for people to run the public consultation went up on city website Friday. You can see their comments on the whole debate here.) You can get a flavour of the arguments from my story in the Globe today, which I’ve reproduced below. --------------------- Vancouver is legendary as a city that has fought to prevent buildings from intruding on its spectacular mountain backdrop and ocean setting. Unlike Calgary, which lost its chance to preserve views of the Rockies 25 years ago, or Toronto, which has allowed a highway plus a wall of condo towers to go up between the city and its lake, Vancouver set an aggressive policy almost two decades ago to protect more than two dozen designated view corridors. But now the city is entertaining re-examining that controversial policy, one that has its fierce defenders and its equally fierce critics, especially the architects who have had to slice off or squish parts of buildings to make them fit around the corridors. And the city’s head planner is signalling that he’s definitely open to change. “I’ve got a serious appetite for shifting those view corridors,” says Brent Toderian, a former Calgary planner hired two years ago, who has been working hard to set new directions in a city famous for its urban planning. “The view corridors have been one of the most monumental city-shaping tools in Vancouver’s history but they need to be looked at again. We have a mountain line and we have a building line where that line is inherently subjective.” The issue isn’t just about preserving views versus giving architects free rein. Vancouver has used height and density bonuses to developers with increasing frequency in return for all kinds of community benefits, including daycares, parks, theatres and social housing. A height limit means less to trade for those amenities. Mr. Toderian, who thinks the city also needs to establish some new view corridors along with adjusting or eliminating others, says a public hearing on the issue won’t happen until the fall, but he is already kicking off the discussion quietly in the hope that it will turn into a wide-ranging debate. “The input for the last few years has been one-sided, from the people who think the view corridors should be abolished,” he said. “But we’re looking forward to hearing what everyone thinks. Most people who would support them don’t even think about them. They think the views we have are by accident.” The view-corridor policy, formally adopted in 1989, was the result of public complaints over some tall buildings going up, including Harbour Centre, which is now, with its tower and revolving restaurant, seen as a defining part of the Vancouver skyline. But then, it helped spur a public consultation process and policy development that many say confused the goal of preserving views with a mathematical set of rules that often didn’t make sense. One of those critics is prominent architect Richard Henriquez, who said the corridors don’t protect the views that people have consistently said they value most from the city’s many beaches and along streets that terminate at the water. Instead, he says many of the view corridors are arbitrarily chosen points that preserve a shard of view for commuters coming into town. That has resulted in the city losing billions of dollars of potential development “for someone driving along so they can get a glimpse of something for a second.” And, Mr. Henriquez argues, city residents have a wealth of exposure to the city’s mountains throughout the region. “Downtown Vancouver is a speck of urbanity in a sea of views,” said Mr. Henriquez, who is feeling the problem acutely these days while he works on a development project downtown where the owners are trying to preserve a historic residential hotel, the Murray, while building an economically feasible tower on the smaller piece of land next to it. The view corridor means the building has to be shorter and broader and is potentially undoable. His project is one in a long list of projects that have been abandoned or altered because of view corridor rules in Vancouver. The Shangri-La Hotel, currently the tallest building in the city at 650 feet, is sliced diagonally along one side to prevent it from straying into the view corridor. At the Woodward’s project, which redeveloped the city’s historic department store, one tower had to be shortened and the other raised to fit the corridor. And architect Bing Thom’s plan for a crystal spire on top of a development next to the Hotel Georgia was eventually dropped because city officials refused to budge on allowing the needle-like top to protrude. But one person wary about the city tinkering with the policy is former city councillor Gordon Price. “When people talk about revisiting, it just means one thing: eroding,” said Mr. Price, still a vocal advocate on urban issues. “People may only get this fragment of a view but it’s very precious. And those fragments will become scarcer as the city grows. The longer they remain intact, the more valuable they become.” It’s a debate that’s unique to Vancouver. Mr. Toderian said that when he was in Calgary, there was no discussion about trying to preserve views from the downtown to the Rockies in the distance. --------------------- cet article n'est pas tres recent, mais je sais pas s'il avait deja ete poste sur ce forum. meme s'il y a des differences, a mon avis beaucoup de ces arguments pourraient s'appliquer aussi pour Montreal. est-ce qu'on devra attendre une autre vague de demande bousillee pour relancer le debat ?
  25. Un nouveau marché public à Montréal Jean-Louis Fortin 11/01/2011 17h46 En plus de pouvoir fréquenter les marchés Atwater et Jean-Talon, les Montréalais seront en mesure d’acheter des aliments frais dans un nouveau marché public qui pourrait voir le jour à proximité des autoroutes 15 et 40, dans l’arrondissement Ahuntsic-Cartierville, a appris 24H. Le projet d’entre 3 et 4 millions $, encore à l’étape des approbations, pourrait obtenir le feu vert dans les prochaines semaines, selon nos informations, d’autant plus que les autorités politiques et administratives de l’arrondissement souhaitent qu’il voie le jour. C’est l’Association des jardiniers maraîchers du Québec (AJMQ) qui a présenté une demande en ce sens à la Ville. Une centaine producteurs membres de l’AJMQ, qui occupent un centre de distribution agroalimentaire pour les commerces et restaurants, situé à côté du Marché Central, pourront ainsi vendre leurs produits directement grand public. Achalandage élevé Sur le site, au moins un des immenses quais de chargement pour camions serait converti en un « grand marché public », explique André Plante, directeur général de l’AJMQ. Un endroit un peu à l’image du marché Jean-Talon, mais de moindre ampleur, illustre-t-il. Selon, lui, la proximité du Marché Central, un grand centre commercial, est susceptible d’attirer un nombre important de visiteurs. « On s’attend à ce que ça soit extrêmement achalandé. On pense que les gens voudront venir acheter des produits frais », prévoit André Plante. Ronald Cyr, directeur de l’arrondissement, précise que les fonctionnaires municipaux accompagnent actuellement l’AJMQ, mais que le permis de construction n’a pas encore été émis. « La construction d’un marché est certainement un point d’intérêt pour les marchands et les citoyens », assure-t-il toutefois. Sur place pour longtemps André Plante attend un feu vert de l’arrondissement « d’ici un mois ». L’AJMQ, décrit-il, devra d’abord transformer l’un des autres quais sur le site en un entrepôt fermé, pour y transférer une partie des activités de distribution. Dans une deuxième phase de construction, 10 000 pieds carrés de superficie à l’intérieur d’un bâtiment adjacent pourraient aussi accueillir des commerces à l’abri des caprices de Dame Nature. Ce projet d’expansion survient moins de six mois après que les maraîchers aient refusé de déménager du site de 800 000 pieds carrés qu’ils occupent actuellement pour le centre de distribution. La firme Bentall, le gestionnaire du Marché Central, leur avait proposé de se relocaliser dans l’Est de la Ville pour pouvoir compléter le développement du centre commercial, mais les maraîchers ont rejeté l’idée à 75%, de peut de perdre leur clientèle. [email protected]