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Found 20 results

  1. Ce projet sera voisin de celui-ci: http://www.mtlurb.com/forums/showthread.php/20551 *** Le Rockland Outremont Projet unique de 13 condos luxueux à Outremont au coin de l'Avenue Rockland et Van Horne. Tout pres du Metro Outremont. Condos de 1,2 et 3 chambres allant de 733 pieds carrés à 1729 pieds carrés pour les penthouses. Plusieurs options incluses tel que plafond de 9 pieds et comptoirs de quartz. Garage et terrasses sur le toît en option. Grands unités familiales disponibles. Livraison le 1er décembre 2014. Adresse 801 Avenue Rockland au coin de Van Horne Quartier Le Rockland Outremont offre un style de vie incomparable à ces futurs propriétaires. Vous pourrez ainsi bénéficier des nombreux restaurants, boutiques, spectacles et activités du secteur à pied. La proximité de la station de métro Outremont permet une liberté de transport partout en ville. Saisissez cette opportunité unique! Vivez Outremont à son meilleur! Bureau des ventes 5405 St-Denis, Montreal Monday to Thursday from 13h30 to 19h00 Saturday and Sunday from 12h00 to 17h00
  2. Tiens, quelque chose de bien va se faire avec ce truc moche..... http://ville.montreal.qc.ca/portal/page?_pageid=98,71749570&_dad=portal&_schema=PORTAL
  3. Réfections bienvenues au Boulevard St-Laurent sous le Viaduc Van Horne. [video=youtube_share;loXUmB9c1dQ]
  4. Nom: Le Liguori Hauteur: 8 étages/?? mètres Coût du projet: 80 000 000,00$ Promoteur: Groupe immobilier Van Houtte Architecte: Emplacement: 560 à 590 Boulevard Crémazie Est (Villeray) Début de construction: mai 2011 Fin de construction: été 2012
  5. Cataclaw

    Musique?

    Qu'est ce que vous écoutez? What's your favorite artist/band? Or even.. qu'est ce que vous écoutez en ce moment? I'm listening to Don Henley - Boys of Summer at the moment Before that, Dirty South - Let it go (axwell remix) Favorite artists/DJs: Opeth, Bruce Springsteen, Seal, Armin van Buuren Favorite album: Opeth - Blackwater Park
  6. Ottawa voit grand Mise à jour le lundi 26 avril 2010 à 23 h 49 Photo: La Presse Canadienne /Adrian Wyld Le ministre conservateur, Peter Van Loan. (archives) Le ministre fédéral du Commerce international, Peter Van Loan, a indiqué à la Presse canadienne que les négociations entre le Canada et l'Union européenne (UE) pourraient mener à un pacte plus élaboré encore que l'Accord de libre-échange nord-américain (ALÉNA). Ce que nous recherchons, c'est l'entente commerciale la plus ambitieuse que nous ayons jamais conclue. — Le ministre Peter Van Loan Selon le négociateur en chef du Canada, Steve Verheul, les négociations en vue de conclure l'Accord économique et commercial global (AECG) progressent bien. Les deux parties en sont à la troisième ronde de pourparlers, et deux autres ont été planifiées. Le ministre Van Loan souhaite que l'accord soit entériné d'ici la fin de 2011. La délégation canadienne compte quelque 60 personnes. À la demande de l'UE, des représentants des provinces canadiennes en font partie en tant que partenaires à part entière. Selon Scott Sinclair, un chercheur pour le Centre canadien de politiques alternatives, les délégués européens souhaitent notamment éliminer le système de régulation de l'offre dans les secteurs des produits laitiers et de la volaille, et la Commission canadienne du blé. En retour, croit-il, le Canada pourrait exporter une plus grande quantité de matières premières en Europe. Un marché important L'ancien ministre libéral John Manley, maintenant à la tête du Conseil canadien des chefs d'entreprise, fait observer que le Canada a besoin de diversifier son commerce international et que dans ce contexte, une entente avec l'Union européenne, dont l'économie ressemble à celle du Canada, pourrait générer d'intéressantes retombées. Le gouvernement canadien estime que l'entente ferait bondir le produit intérieur brut (PIB) du Canada de 12 milliards de dollars d'ici 2014. En 2008, les exportations canadiennes en Europe se sont chiffrées à 52 milliards de dollars, un montant plutôt modeste compte tenu de la taille du marché. L'Union européenne, un marché d'un demi-milliard d'habitants répartis dans 27 pays, a un PIB de 19 milliards de dollars. Le premier ministre du Québec, Jean Charest, est un ardent défenseur d'un accord de libre-échange entre le Canada et l'Union européenne. http://www.radio-canada.ca/nouvelles/Economie/2010/04/26/014-canada-ue-pacte.shtml Pour ceux qui ne savent pas ce qu'est le système de régulation de l'offre dans le secteur des produits laitiers, en bref c'est ce qui fait en sorte que vous payez vos produits laitiers beaucoup trop chers, beaucoup plus cher qu'aux USA, puisque les prix sont artificiellement gonflés pour subventionner les producteurs laitiers (qui sont millionnaires soit dit en passant).
  7. Plateau Mont-Royal L'avenue du Parc en bleu et blancMise à jour le vendredi 28 mars 2008, 12 h 54 . L'avenue du Parc (archives) L'avenue du Parc sera fleurie aux couleurs du drapeau grec cet été. L'arrondissement Plateau Mont-Royal entend souligner le caractère hellénique de l'avenue du Parc, entre les rues Mont-Royal et Van Horne, en fournissant les bacs à fleurs de végétaux à la floraison bleue et blanche. Les 36 bacs à fleurs situés entre les avenues Mont-Royal et Van Horne seront composés d'Ageratum leilanii blue, Angelonia serena mélange, Anthirinum maximum blanche, Coleus palissandra (bleu-mauve), Helichrysum silver, Pennisetum jester, Petunia wave blue et Salvia farinacea victoria. L'arrondissement entend ainsi souligner le caractère hellénique du quartier en affichant deux types d'oriflammes. Le premier modèle affichera des photos de citoyens d'origine grecque avec un petit drapeau hellène dans le coin inférieur. Un deuxième type utilisera un lettrage dont la police rappellera l'origine grecque du quartier. « Au cours de la prochaine année, nous travaillerons en étroite collaboration avec l'Association des marchands et des propriétaires fonciers de l'avenue du Parc pour préciser la forme que prendra concrètement le caractère hellénique que nous souhaitons tous donner à l'avenue du Parc », a déclaré la mairesse de l'arrondissement Helen Fotopulos. Le plan de revitalisation du quartier sera complété par l'ajout de bancs, de stationnements pour vélos et l'installation de parcomètres électroniques. Le coût total des aménagements réalisés cette année sera de 50 000 $. http://www.radio-canada.ca/regions/Montreal/2008/03/28/005-Grecs-du-Parc.shtml
  8. The New York Times Printer Friendly Format Sponsored By June 8, 2008 Allez voir plus de photos sur le site: http://www.nytimes.com/2008/06/08/magazine/08mvrdv-t.html?_r=1&sq=montreal&st=nyt&oref=slogin&scp=1&pagewanted=all By DARCY FREY In the fall of 2002, a young Dutch architect named Winy Maas came to Yale to give a lecture on designing and building the 21st-century city, the challenges of which he illustrated by showing a 30-second video that could have been shot above any American metropolitan airport: a view of the tops of several buildings and then, as the camera rose, more and more buildings, more roads and bridges and asphalt lots, until an ugly concrete skin of low-rise development spread to all horizons. Maas was not the first architect to protest the unsightly sprawl that humans have left over much of the earth’s surface, but he may have been the first to suggest that we preserve what’s left of our finite planetary space by creating “vertical suburbias” — stacking all those quarter-acre plots into high-rise residential towers, each with its own hanging, cantilevered yard. “Imagine: It’s Saturday afternoon, and all the barbecues are running,” Maas said, unveiling his design for a 15-story building decked out with leafy, gravity-defying platforms. “You can just reach out and give your upstairs neighbor a beer.” He turned next to agriculture. Noting that the Dutch pork industry consumes huge swaths of land — Holland has as many pigs as people — Maas proposed freeing up the countryside by erecting sustainable 40-story tower blocks for the pigs. “Look — it’s a pork port,” he said, flashing images from PigCity, his plan for piling up the country’s porcine population and its slaughterhouses into sod-layered, manure-powered skyscrapers that would line the Dutch coast. Maas is the charismatic frontman for the Rotterdam-based architecture, urban-planning and landscape-design firm known as MVRDV, which brims with schemes for generating space in our overcrowded world. With his messy, teen-idol hair and untucked shirt, Maas strolled the stage extolling the MVRDV credo — maximize urban density, construct artificial natures, let data-crunching computers do the design work — while various mind-bending simulations played across the screen: skyscrapers that tilted and “kissed” on the 30th floor; highways that ran through lobbies and converted into “urban beaches”; all the housing, retail and industry for a theoretical city of one million inhabitants digitally compressed into the space of a three-mile-high cube. The Netherlands, prosperous and progressive, has long been one of the world’s leading exporters of architectural talent. By the mid-1990’s, not only Rem Koolhaas and his Office for Metropolitan Architecture but also a whole new generation of designers — MVRDV, West 8, UNStudio — were trying to enlarge Le Corbusier’s definition of architecture as the “magnificent play of volumes brought together under light” and arguing for a process driven by research, information and a greater social and environmental awareness. Fighting their battles not just building to building but on a sweeping, citywide scale, Holland’s architects and designers were, in the words of the Dutch culture minister, “heroes of a new age.” Still, paradigms tend to fall only under pressure, and at the start of the new millennium an audience at the Yale School of Architecture could be forgiven for greeting vertical suburbs, pig cities and the rest of MVRDV’s computer-generated showmanship with the same slack-jawed disbelief that once greeted Fritz Lang’s “Metropolis” or the 1909 Life magazine cartoon that promised an urban utopia of country villas perched atop Manhattan skyscrapers while double-decker airplanes whizzed through their atria. When Maas came to New Haven, MVRDV was barely 10 years old and had hardly built outside its native Holland. And yet there he was with his straight-faced scheme to “extend the globe with a series of new moons” — send up food-producing satellites that would orbit the earth three times a day. “Can you imagine,” he said with a boyish, science-fair enthusiasm that indulged no irony, “if we grew our tomatoes 10 kilometers high?” On the lecture-hall screen, New York’s skyline appeared just as the MVRDV satellite passed overhead, darkening Gotham with a momentary eclipse of the sun. Who were these Dutch upstarts? And in the so-called real world, would anything actually become of their grand, improbable visions? The 45 architects and designers who make up MVRDV (the name is formed by the surname initials of Mass and his two founding partners, Jacob van Rijs and Nathalie de Vries) work out of a converted, loftlike space in an old printing plant in Rotterdam, a dull but industrious port city whose historic districts were leveled by the Nazis and whose jagged skyline of new office towers and construction cranes attests to its still-restless effort to rebuild. Inside MVRDV, a liquid northern light pours through a wall of high arched windows, and the occasional cries of foghorns and seagulls confirm its location just blocks from the city’s main shipping lane. But otherwise, the mostly 30-something architects who sit with a slouching intensity at rows of long communal tables, surfing Google Earth or manipulating blue-foam architectural models, seem to have their minds in other places. “Now here’s a nice project of ours,” Jacob van Rijs said, leading me over to a small cardboard model for a library near Rotterdam when I visited the firm this spring. Because zoning laws required that the library not exceed the height of the town’s steeple, MVRDV designed it like a barn and filled its spacious interior with a continuous spiral of book-bearing walls leading to a bar and a fireplace at the top. “It’s like a spatialization of a library filing system. Every title will be visible, so you won’t have to know what you’re looking for — you can just come in and browse.” Van Rijs — menschy, informal, with a skill for taking Maas’s flights of rhetoric and bringing them helpfully down to earth — guided me on to the next model, this one for a new housing block in a generic, somewhat featureless region of the Netherlands; from a distance the housing block will appear as giant letters spelling out the region’s name. “It’s like the Hollywood sign — you’ll see our building and instantly know where you are.” And on to the models for an arched, open-air market hall whose ribs are formed by apartment units (“so you can call down from your kitchen window and ask your husband to pick up some fruit”); the design-your-own mountain grottos with interchangeable rooms for a developer in Taiwan (“they’re like customizable Native American caves”); the new soccer stadium in Rotterdam that, because it replaces an older one fondly known as the Tub, will sit like a dish in the Maas River. “You know, what’s the best place for a tub? So we put it in the river!” Van Rijs gave a giddy laugh. “Some projects just make you happy.” Maas and van Rijs, who both worked for Koolhaas, and de Vries, who practiced with the Delft-based Mecanoo, formed MVRDV in 1991 after their design for a Berlin housing project won the prestigious Europan competition for architects under 40. Holland has always been a good place to think creatively about space, with its congested countryside (16 million people squeezed into an area the size of two New Jerseys), its faith in planning and the democratic welfare state and its keen appreciation for land that comes from having reclaimed two-thirds of its own from the edge of the North Sea. Meanwhile, young designers were hoping the economic boom and housing shortage of the 1990s would give them the chance to build domestically on a large scale. Still, two years after they formed MVRDV, Maas, van Rijs and de Vries were struggling to find work and practicing out of makeshift offices (during meetings with prospective clients, they’d sometimes recruit friends to keep the phones ringing and wander through in suits) when a Dutch public broadcasting company, VPRO, approached them about a possible new headquarters in Hilversum. The project’s constraints were formidable. VPRO’s 350 employees — “creative types,” van Rijs says; “individualistic,” de Vries adds; “a settlement of anarchists with an obnoxious attitude toward corporate identity” Maas concludes — were then spread out among several buildings, enjoying their fiefs and the company’s culture of noncommunication. Even if a new headquarters could bring them all under one roof, it was impossible to predict how the employees would actually use the building, given their fluid work patterns and chaotic organizational hierarchies. “The mandate was: How can we get them to start communicating with each other?” Maas says. “And the answer was: By putting them in a box.” Villa VPRO, which became the defining project of MVRDV’s early career, is a densely constructed, five-story box — a “hungry box,” as one critic called it — with an endlessly flowing and adaptable interior that renders in spatial form the company’s anarchic spirit. MVRDV created a concrete labyrinth of winding stairs, twisting ramps and narrow bridges; a continuous surface of stepped and slanted planes with no real walls, just colored-glass partitions so that sunlight could penetrate into the depths of its compact terrain. “Clearly, VPRO was a social-engineering project,” Maas says. “We built a vertical battlefield for the users, one place where they could all meet and argue and find out how to behave. Because of all the hills, slabs and stairs, they were forced to maneuver through the building. Some people hated it — they lost their way, they were overwhelmed by their colleagues. Others loved it. But they all had to deal with each other. I like that. That’s part of life.” A year later, MVRDV took social engineering to a new level when it won a commission to represent Holland in Expo 2000 in Hanover, Germany. Expos are notorious excuses for creating second-rate architecture, piling up dreary national pavilions and Disneyfied theme parks around which crowds circulate in a candy-consuming stupor. At the Hanover expo, MVRDV stole the show with another vertical confection — this time a six-story tower of stacked and sustainable artificial Dutch landscapes that included an oak forest, a meadow of potted flowers, ersatz concrete sand dunes for purifying irrigation water and a “polder landscape” of dyke-protected turf powered by wind turbines spinning away on the roof. The MVRDV pavilion was, one critic wrote, “science class with the chutzpah of Coney Island.” Another predicted that it would “go down as one of the few truly great pieces of expo architecture,” alongside Mies van der Rohe’s Barcelona Pavilion and Moshe Safdie’s Habitat flats at the Montreal expo. Visitors lined up for hours to climb through what was inevitably dubbed the “Dutch Big Mac.” But beyond its playful innovation, MVRDV had lofty aspirations for its pavilion, hoping that it would carry the optimistic (and very Dutch) message that in the face of extreme population densities and the craving for open land, you could actually manufacture space — even create an artificial nature out of thin air — by condensing your landscapes on the floors of a building and reproducing them endlessly toward the sky. “The Dutch population is essentially antiurban,” de Vries says. “Therefore as architects in Holland we have a special responsibility to make living in cities and under dense circumstances not just habitable but preferable.” “It was sort of a test case,” Maas says. “At a time when urbanism is still dominated by ‘zoning,’ which is a very two-dimensional approach, we wanted to know: can we extend our surfaces? Can we develop an urbanism that enters the third dimension?” The Hanover pavilion was “a utopian formula born of necessity to allow the unlimited creation of new real estate,” wrote the critic Holger Liebs. It was “a practical model for the reinvention of the world.” At the architectural library at the Delft University of Technology, there’s a copy of a 736-page book by MVRDV called “Farmax: Excursions on Density,” which is a hodgepodge of essays, transcripts, photos, computer designs, graphs and charts, all examining the growing suburban “grayness” of the Dutch landscape and proposing different solutions for saving the pastoral landscape by “carrying density to extremes.” So many students have borrowed, read and plundered that copy of “Farmax” that it had to be pulled from circulation and has sat in a state of complete disintegration inside a kind of glass vitrine. When I mentioned this to van Rijs, he laughed and said: “Yeah, I’ve seen that. Our book is like a museum piece. Isn’t that fun?” While projects like VPRO and the Hanover pavilion were leading to design commissions in Copenhagen, Madrid, Paris, Tokyo and China’s Sichuan province, MVRDV was also reaching outside the realm of established architectural practice by producing a series of theoretical exercises — books, films, exhibitions, even computer games — that amounted to an ongoing propaganda war on behalf of the firm’s radical ideas about space. After “Farmax,” MVRDV put out another doorstop manifesto, “KM3: Excursions on Capacities,” which warned that if the global population “behaved with U.S.-citizen-like consumption,” another four earths would be required to sustain it. In the exhibit 3D City, they pushed ever upward, advocating giant stacking cities that, as MVRDV breathlessly described them, exist “not only in front, behind or next to you, but also above and below. In short a city in which ground-level zero no longer exists but has dissolved into a multiple and simultaneous presence of levels where the town square is replaced by a void or a bundle of connections; where the street is replaced by simultaneous distribution and divisions of routes and is expanded by elevators, ramps and escalators. . . .” Perhaps MVRDV’s most ambitious theoretical exercise was the traveling computer installation they called MetaCity/Datatown. Predicting that globalism and an exploding planetary population will push certain regions throughout the world into continuous urban fields, or megacities, MVRDV conceived a hypothetical city called Datatown, designed solely from extrapolations of Dutch statistics. (“It is a city that wants to be explored only as information; a city that knows no given topography, no prescribed ideology, no representation, no context. Only huge, pure data.”) According to its creators, Datatown was a self-sufficient city with the population of the United States (250 million) crammed into an area the size of Georgia (60,000 square miles), making it the densest place on earth. MVRDV then subjected this urban Frankenstein to 21 scenarios to see how they would affect the built environment: What if all the residents of Datatown wanted to live in detached houses? What if they preferred urban blocks? What could be done with the waste? (Build 561 ski resorts.) What kind of city park would be needed? (A million Central Parks stacked up over 3,884 floors.) “The seas, the oceans (rising as a result of global warming), the polar icecaps, all represent a reduction in the territory available for the megacity. Does that mean that we must colonize the Sahel, the oceans or even the moon to fulfill our need for air and space, to survive? Or can we find an intelligent way to expand the capacities of what already exists?” On one level, MetaCity/Datatown was a game and a provocation — architecture as a kind of thought experiment: can the urban landscape be reduced to a string of ones and zeroes? Is what we think of as outward reality nothing more than the physical manifestation of information? But MetaCity/Datatown was also a serious investigation: by translating the chaos of the contemporary city into pure information — or, as MVRDV called it, a datascape — and then showing the spatial consequences of that datascape through computer-generated designs, MVRDV set out to reveal how our collective choices and behaviors come to mold our constructed environments. “These datascapes show that architectural design in the traditional sense only plays a very limited role,” Bart Lootsma, an architectural historian, writes in one of many essays inspired by the exhibit. “It is the society, in all its complexities and contradictions, that shapes the environment in the most detailed way, producing ‘gravity fields’ in the apparent chaos of developments, hidden logics that eventually ensure that whole areas acquire their own special characteristics — even at a subconscious level.” Lootsma cites a number of these invisible forces — market demands precipitating a “slick” of houses-with-gardens in the Netherlands, political constraints generating “piles” of dwellings on the outskirts of Hong Kong, the cultural preference for white brick causing a “white cancer” of housing estates in the Dutch province of Friesland. These are “the ‘scapes’ of the data behind it,” he writes. Moreover, to the extent that MVRDV approaches architecture not as a conventional expression of aesthetics, materials and form but as an almost scientific investigation into the social and economic forces that influence our constructions, the datascapes were also a dry run for the firm’s own built work. That work, says Aaron Betsky, the former director of the Netherlands Architecture Institute and a longtime MVRDV-watcher, is really an ongoing project of “giving shape to those zeroes and ones,” of making the conceptual real, of turning abstract information into concrete form. When MVRDV begins a project, it starts by assembling information on all the conceivable factors that could play a role in the site’s design and construction — everything from zoning laws, building regulations and technical requirements to client wishes, climatic conditions and the political and legal history of the site. Architects often view these rules and regulations as bureaucratic foils to their creativity. MVRDV sees them as the wellspring of invention. In fact, believing that subjective analysis and “artistic” intuition can no longer resolve the complex design problems posed by the ever-metastisizing global city, the architects sometimes use a home-built software program called Functionmixer. When loaded with all the parameters of a particular construction project, Functionmixer crunches the numbers to show optimal building shapes for any given set of priorities (maximizing sunlight, say, or views, or privacy) and pushes limits to the extreme, where they can be seen, debated and, often, thoroughly undone. It creates a datascape that is the basis of the design. In 1994, for instance, MVRDV was asked to build housing for the elderly — an apartment block with 100 units — in an already densely developed suburb of Amsterdam. Because of height regulations and the need to provide adequate sunlight for residents, only 87 of the called-for units could fit within the site’s restricted footprint. Rather than expand horizontally and consume more of the neighborhood’s green space, MVRDV borrowed a page from its “vertical suburbia” and hung the remaining 13 apartments off the side. Their wonderfully odd WoZoCos housing complex takes the conventional vertical housing block and reorganizes it midair with these bulging extensions that seem to be levitating right up off the ground. Four years later, when MVRDV was selected to build economically mixed housing in Amsterdam’s docklands area, the firm held countless negotiations with the parties involved — local politicians, the planning authority, possible future residents — all of whom advocated for a different distribution of the housing. Eventually MVRDV threw all the data into a computer and came up with the Silodam — 157 apartments of various sizes and prices that sit together in one 10-story multicolored block that rises on stilts from the harbor like a docked container ship. From the outside, the Silodam looks simple enough — as literal as a child’s giant Lego construction — but inside the block is filled with a vast array of dwellings arranged into economically mixed “mini-neighborhoods,” while a series of communal galleries and gangways allow residents to walk from one end of the “ship” to the other. MVRDV’s radical, research-driven methodology has been a source of fascination to critics and competitors from the start. “No one else has found as convincing a way,” writes the historian Lootsma, of “showing the spatial consequences of the desires of the individual parties involved in a design process, confronting them with each other and opening a debate with society, instead of just fighting for one or the other, as most architects would.” And the urbanist and designer Stan Allen, now dean of the Princeton School of Architecture, points out that “rather than impose structure, leading to closure and more precise definition, MVRDV works to keep the schema open as long as possible, so that it can absorb as much information as possible.” In fact, MVRDV’s architects rely so much on gathering and metabolizing data, information and competing points of view that they insist they leave no formal signature on their work. “We try to avoid any sort of aesthetic aspect in our designs,” van Rijs told me. “Unlike Gehry, Zaha and others whose work is easy to recognize, we don’t have a strong personal style. Our methodology is based more on logic. Sometimes we call it an iron logic: depending on the situation, we come and take a look and say: ‘What’s happening? What should be done?’ Then we follow a step-by-step narrative, and when you see the building, you get the final result. It’s the only possible outcome. You cannot see anything else.” But if MVRDV’s design process is really so rational and objective — if, as Stan Allen says, the architects reject “fuzzy intuition” and “artistic expression” for a step-by-step pragmatism in which “form is explained only in relation to the information it encodes: architecture as a series of switches, circuits or relays activating assemblages of matter and information” — then why, Allen asks, are their creations so unexpected and witty, sometimes even so spectacular? Commissioned to build large-scale housing in a sprawling Madrid neighborhood already choked with monotonous low-rise construction, MVRDV designed a typical horizontal housing block with an interior courtyard. Then the architects flipped the block on its side to create Mirador, a towering 22-story icon for the neighborhood with the courtyard now transformed into an enormous, open-air balcony offering sweeping views of the Guadarrama Mountains. Some MVRDV designs are so logical they seem to turn reality on its head. In 2007, two years after Hurricane Katrina devastated much of New Orleans, the actor and architectural enthusiast Brad Pitt asked 14 design firms to help his nonprofit Make It Right rebuild the city’s impoverished Lower Ninth Ward, one of the neighborhoods hardest hit by the storm. Specifically, he asked for designs for an affordable — but also floodproof — 1,200-square-foot house with three bedrooms and a porch. Maas, van Rijs and de Vries — citizens of a country that is continually defending its buildings from the threat of inundation — had already contributed to an exhibit of post-Katrina architecture: inspired by a child’s crayon drawing of New Orleans residents walking to safety up an imaginary hill, they conceived a new elementary school made safe from rising waters by tucking it inside an artificial, grass-covered mound, where balconies hung off the sides and a playground covered the top. Now, having received Brad Pitt’s call, they came up with an ingenious, almost whimsical solution to the problem of future flooding: their “Bend House” was a variation on the South’s traditional low-slung shotgun houses, this one hinged in the middle so that its front and back are raised above the waterline. Some critics were appalled. By creating a dwelling that already looked flood-damaged, perhaps even uninhabitable, MVRDV appeared to be using the New Orleans disaster to score political points or, worse, to be winking ironically at the residents’ ongoing plight. Others thought the Bend House was emblematic of MVRDV’s best work and of the architects’ knack for creating buildings whose formal inventiveness arises from the explicit display of the social or environmental problems that brought them to life: VPRO’s endless interiors signaling the need for social connection; WoZoCos’s hanging boxes showing how to preserve our green spaces; the festively striped Silodam offering ways to mix rich and poor. “The architecture that we make is part of the ordinary, part of our pop culture,” Maas told me. “At the same time, the buildings try to engage with society by questioning our behavior and offering alternatives. And they offer those alternatives by showing — visibly, obviously — in their actual design the social problems we were trying to address. When you see the object, you see the question.” Maas’s remark brought to mind an appraisal of MVRDV’s work by the French architect Alain Guiheux. “A great mystery in architectural projects surrounds the definition of what is acceptable to the client,” he writes. Where does the client’s caution and censorship begin? At what point does that caution become the architect’s own self-censorship? Guiheux goes on to say that MVRDV tries to resist society’s censorship — and overcome its own — by using playfulness to “soften up conformity” and by “pushing back the line between the reasonable and the incredible.” That, he says, is their “magic,” and has effected a break with architectural convention “like that undergone by painting at the beginning of the 20th century, pre- or post-Duchamp.” In the case of MVRDV’s New Orleans Bend House, the playful break with convention was not accomplished without considerable debate. “When you have a federal government that doesn’t invest in its levees, that makes people’s land completely worthless, that makes its own citizens insanely poor, you need a design that makes a protest, that rises up and says, What is going on here?” Maas said. “But in discussions with Brad and the others, we kept asking: Yes, but can we show that explicitly? Can we come out with that? It’s going to look ironic! How can you be ironic in the face of disaster? Will the American people be angry? “But even in the most tragic circumstances,” Maas went on, “there is often a moment of irony. Well, is it irony? Or is it really more like . . . ?” He paused, at an uncharacteristic loss for words. “There is this beautiful German word, Trost. It means empathy, or solace, or maybe consolation. I think that is what our building meant to express. You know, if the waters are going to come, let them come. Let’s do it. Let’s just turn and face it.” Darcy Frey is a contributing writer for the magazine. His last article was about bears who were overtaking a Canadian town. Home * World * U.S. * N.Y. / Region * Business * Technology * Science * Health * Sports * Opinion * Arts * Style * Travel * Jobs * Real Estate * Automobiles * Back to Top Copyright 2008 The New York Times Company
  9. Il remplace Jean-Louis Monette, qui devient président du conseil. Par ailleurs, la compagnie embauche Sylvain Toutant à titre de président de la division Détail. Pour en lire plus...
  10. On connaît le cliché: les marchés boursiers poussent les entreprises qui y sont inscrites à gérer à court terme. Chez Van Houtte, on vit l’inverse. Pour en lire plus...
  11. Après un mois à sillonner hardiment le pays de table en table, on peut claironner que 2011 a été féconde en nouveaux restos. Vingt d’entre eux auraient pu figurer à ce palmarès, ce qui en dit long sur le climat actuel. Partout, on a goûté une cuisine d’inspiration canadienne de grand art et du terroir qui bouleverse nos notions d’identité culinaire nationale. Il est temps de bannir certaines bêtises, dont les « restos chics et décontractés », expression antinomique et de mauvais goût qui dessert l’industrie. Frugalité et finesse vont de pair, on le voit depuis quelques années. Si l'on n’a pas peur de s’excentrer, on pourra savourer des mets fantastiques dans des quartiers où les loyers modiques laissent aux chefs plus de liberté (et puis, avouons-le, on n’a jamais autant rigolé avec le personnel). Pour les restaurants haut de gamme, le glas est loin de sonner ; en fait, on assiste au retour d’une somptuosité d’un autre temps. Au menu des établissements primés dans ces pages, le raffinement s’accompagne d’une confiance accrue. Il semble qu’on ait un âge d’or à se mettre sous la dent. http://enroute.aircanada.com/fr/articles/les-meilleurs-nouveaux-restos-canadiens-2011/ LE COMPTOIR CHARCUTERIES ET VINS Montréal Résumons. Récupéré dans un ancien labo, le comptoir éponyme offre une vue imprenable de la cuisine et une surface à frapper du plat de la main en guise d’applaudissement. Fondantes et étonnamment jeunes, les charcuteries maison réconcilient les plus blasés avec les plaisirs de la chair à coup d’originalité : coppa di testa (tête fromagée italienne), lomo (longe de porc à l’espagnole), ventrèche (cousine française de la pancetta). Quant aux vins, le sommelier Jack Jacob a du nez pour les produits bios de petits vignobles et a déniché des perles dans la vallée de la Loire et le Roussillon. Mais Le Comptoir vaut plus que la somme de ses parties. C’est un restaurant à part entière, ce qui donne toute liberté à Ségué Lepage (ex de La Montée de Lait) et à son frère Noé de composer une cuisine inventive et décontractée. Pour une version originale d’une spécialité locale, essayez le sandwich pressé au smoked meat, au cheddar et à la moutarde au cumin. Les plats à l’ardoise jouent avec les goûts et les textures, mais aussi avec les températures, dans des salades composées aux ingrédients tièdes et froids : chou-fleur rôti, purée d’anchois, roquette et mie de pain frite ; flétan, concombres, feta, fines herbes et tempura d’oignon ; ricotta frite avec purée de pommes vertes. Vu la qualité et les prix doux, il serait très facile de devenir un habitué du Comptoir (on saurait alors s’il faut prendre le disco qui y jouait au second degré). À Montréal, les buvettes, chics mais confortables, ont su se faire une place, entre bars à vins et pubs gastronomiques. Celle-ci a mis le doigt sur le pouls de la ville. 4807, boul. Saint-Laurent 514-844-8467, comptoircharcuteriesetvins.ca VAN HORNE Montréal Imaginez deux excentriques personnages d’un film de la Nouvelle Vague (disons un Godard du tournant des années 1960) sortant de l’écran, entrant dans un resto, savourant une bouteille et décidant de prendre les rênes de l’endroit. La naissance du Van Horne, exigu mais bien défini, est à peine moins rocambolesque. Les néorestaurateurs Sylvie Lachance (issue du milieu culturel québécois) et Urs Jakob (du Gershwin Hotel, à New York) étaient en quête d’un chef quand ils sont tombés par hasard sur Eloi Dion, du 357c, le sélect club montréalais de Daniel Langlois. Leur espiègle sommelière, à qui l’on doit une brève carte d’importations privées, fait aussi le ser-vice. Leur salle dépouillée tient lieu de galerie pour leur collection (porte du pavillon iranien d’Expo 67, assiettes en papier de Roy Lichtenstein, mat totémique baptisé Bill). Sans transition, le choix musical enchaîne vieille pop française et punk new-yorkais. Le court et épatant menu de Dion propose une cuisine de marché en mode flexitarien. Ses quatre plats principaux (une viande, deux poissons, un végé) sont si créatifs qu’en comparaison les tables où règnent les protéines semblent datées et dépassées. Chaque assiette est une palette de couleurs. Disque jaune d’une gelée de pamplemousse merveilleusement amère pour crabe des neiges duveteux et joi choi. Chiffonnade de bette à carde vert forêt historiée d’une purée de dattes au garam masala. L’art de Dion change les regards : tel du béton liquide, une aérienne sauce hollandaise à l’encre de seiche nappe une succulente dorade royale et une lasagne anthracite de champignons. Voilà une véritable étude de gris à tirage limité. 1268, av. Van Horne 514-508-0828, vanhornerestaurant.com LES 400 COUPS Montréal Dans une ville où les bistros tiennent le haut du pavé, cette table pourrait bien vous réconcilier avec le steak tartare. Haché au couteau pour lui donner du mordant, mélangé à de gros morceaux de carottes, émaillé de mayo aux anchois et de croûtons, il arrive garni d’une petite boule de glace à la moutarde (autre bonne raison de l’avaler tout cru). Le chef Marc-André Jetté, la sommelière Marie-Josée Beaudoin et le chef pâtissier Patrice Demers accoudés au bar en marbre du resto. Les as derrière Les 400 coups (un hommage au film de Truffaut qui joue sur l’adresse du resto), le chef Marc-André Jetté, le chef pâtissier Patrice Demers et la sommelière Marie-Josée Beaudoin, déjà complices chez Laloux et au Newtown, forment un trio chevronné. Leur spectaculaire salle de style Beaux-Arts (murs noirs, bar de marbre blanc, monumentale murale de Saint-Germain-des-Prés, le quartier parisien qui pourrait être la mère patrie de Montréal) vibre des potins de vedettes locales de la télévision. Ce décor légèrement vieillot souligne la modernité de la cuisine québécoise qu’on y sert (contrairement aux jaquettes grises du personnel). Jetté a le palais bourlingueur et s’il pioche aux quatre coins du globe pour ses préparations (bar d’Amérique garni d’amandes marconas et d’émulsion au curry, omble chevalier dans un bouillon au canard laqué, spaghettis d’épeautre au beurre d’oursin), loin de s’éparpiller, il s’en tient à une vision remarquablement claire, précise, concise. Demers sert le pot de crème qui a fait sa réputation aux Chèvres, et son Vert (pistaches, pousses de coriandre, huile d’olive et yogourt au chocolat blanc garnis de granité à la pomme verte) est une fraîche symphonie sucrée-salée qui nous fait tomber dans les pommes. 400, rue Notre-Dame E. 514-985-0400, les400coups.ca
  12. Le bâtiment est souvent cité lorsqu'on parle de patrimoine menacé. Par Mu Architecture :
  13. Pendant ce temps, au Québec et au Canada, on recule. Accord de l'UE pour réduire de 40% ses GES d'ici 2030 JEAN-LUC BARDET Publié le 23 octobre 2014 à 19h20 Les dirigeants européens ont trouvé un accord vendredi sur un plan climat ambitieux pour mettre l'Europe en position de leader mondial dans la lutte contre le réchauffement de la planète. L'Union européenne prévoit une réduction d'au moins 40% de ses émissions de gaz à effet de serre d'ici 2030 par rapport à 1990. «Accord! Au moins 40% de réduction d'ici 2030. Accord du Conseil européen sur une politique énergétique et de climat la plus ambitieuse au monde», a écrit le président du Conseil européen, Herman Van Rompuy, sur son compte Twitter. Les 28 chefs d'État et de gouvernement se sont aussi entendus sur deux autres objectifs: porter la part des énergies renouvelables à 27% de la consommation et faire 27% d'économies d'énergie, a précisé M. Van Rompuy. Le premier est contraignant, mais à l'échelle de l'UE, pas de chaque Etat membre, et le deuxième objectif ne l'est pas. Les Européens, poussés notamment par l'Espagne et le Portugal, ont aussi décidé d'augmenter les «interconnexions» entre réseaux électriques au sein de l'Union, à 15% d'ici 2030, a précisé M. Van Rompuy. «C'est une bonne nouvelle pour le climat, les citoyens, la santé et les négociations internationales sur le climat à Paris en 2015», a estimé M. Van Rompuy, assurant que cela créerait «des emplois durables» et de la «compétitivité». L'accord a été obtenu à l'issue de discussions ardues qui ont duré près de huit heures à Bruxelles. C'est «un accord très ambitieux pour la planète. L'Europe montre l'exemple», s'est réjoui le président français François Hollande, qui accueillera la conférence de Paris fin 2015. «S'il n'y a pas d'accord» entre Européens, «comment convaincre les Chinois ou les Américains ?», avait-il demandé à son arrivée au sommet. Mécanismes de soutien La question du partage du fardeau était centrale entre les pays pauvres, principalement de l'est de l'Europe, qui dépendent encore largement des énergies fossiles comme le charbon, et les plus riches qui s'appuient sur le nucléaire ou sont déjà bien engagés dans la transition énergétique. Les premiers, emmenés par la Pologne, ont obtenu un «paquet de compensations» pour les aider à moderniser leur système énergétique, a indiqué une source européenne. Des mécanismes de soutien vont être créés à partir du système des quotas européens d'émission de CO2, notamment un fonds alimenté par une petite partie (2%) des ventes de ces certificats. De leur côté, l'Espagne et le Portugal exigeaient de meilleures interconnexions avec les réseaux énergétiques européens, un sujet qui provoque des frictions depuis des années entre l'Espagne et la France. Les Espagnols attendent notamment des financements dans le plan d'investissements de 300 milliards d'euros que doit présenter d'ici la fin de l'année la nouvelle Commission Juncker. L'amélioration des interconnexions fait partie des outils pour accroître l'indépendance énergétique de l'UE, un enjeu rendu encore plus crucial par la crise en Ukraine et les menaces sur l'approvisionnement en gaz russe. Vendredi sera consacré à l'économie et aux moyens de doper la croissance, à quelques jours de l'entrée en fonction de la Commission Juncker, qui en a fait sa première priorité. La discussion, entamée à 28, sera suivie d'un mini-sommet de la zone euro qui pourrait être animé par le débat sur les règles budgétaires européennes, au moment où les projets de budget de la France et de l'Italie sont sur la sellette de la Commission. http://www.lapresse.ca/actualites/environnement/201410/23/01-4812075-accord-de-lue-pour-reduire-de-40-ses-ges-dici-2030.php
  14. Nicolas Van Praet, Financial Post · Jun. 6, 2013 | Last Updated: Jun. 6, 2013 2:23 PM ET MONTREAL • Green Mountain Coffee Roasters Inc. is revamping its Canadian manufacturing operations in Montreal as investors savour a tripling in the company’s shares over the past year. The Waterbury, Vt.-based company, which bought Quebec coffee chain Van Houtte in 2010, will announce Friday a $40-million to $50-million investment to modernize its plant in Montreal’s Saint Michel neighbourhood with new packaging equipment, two sources said. More than 100 new jobs will be created in the move. It’s all part of a larger effort by Green Mountain Canada President Sylvain Toutant to fortify and grow the company’s presence in Montreal since the $915-million takeover three years ago. Building on initial moves to purchase property around the company’s Van Houtte coffee facility in the city’s north end and to occupy a new country head office, Mr. Toutant is now expanding the Montreal manufacturing operations. “This is really a great piece of news for a neighbourhood that badly needs it,” said Frantz Benjamin, the municipal councillor representing the district, adding the company’s modernization is only the first phase of what could be a larger economic development project for the neighbourhood. Related “In the medium term, we’d really like to develop an entire Quartier du Café (Coffee District) in the area,” anchored around Green Mountain, he said. Montreal has other geographical clusters of business activity, but this one in Saint Michel’s industrial district would be among the more remote. The coffee maker sought financial support from the Quebec government for the manufacturing modernization, which it is believed to have won. The funds would be used to add a production line in Saint Michel and diversify commercial activities, the company said in a filing with Quebec’s lobbyist registry. Shares of Green Mountain rose 3% to $74.68 in Nasdaq trading Thursday. They’ve more than tripled over the past year. In December, Mr. Toutant articulated a three-year plan for Green Mountain’s Montreal site to add 50,000 square feet of production space, boost the payroll by 150 workers to 1,000, and refurbish the roasting plant. The site currently encompases the head office, a roasting factory and two distribution warehouses. Green Mountain dominates the single-serve coffee market in the United States with its Keurig-brand coffee makers and K-Cup pods, making money from most of the coffee sold for those machines. The company lost more than two-thirds of its market value during the year ending last October, but has since staged a remarkable recovery, proving that despite the expiry of its K-Cup design patents it can still generate earnings growth. Green Mountain’s product innovation will be an important performance driver in the years ahead, Imperial Capital analyst Mitchell Pinheiro said in a research note Thursday, initiating coverage on the shares with an outperform rating and $95 price target. “We believe the company’s potential on the cold beverage side of the at-home beverage category could create an opportunity that is as large, if not larger, than its current coffee, tea and hot cocoa segment,” Mr. Pinheiro said, forecasting earnings per share growth of 15-25% over the next three years. http://www.nationalpost.com/Green+Mountain+boost+Montreal+operations+with+much+investment/8490304/story.html
  15. World vibe at Montreal jazz fest David Rubien, Chronicle Staff Writer Thursday, June 21, 2007 "Jazz is a tree that has many leaves," says André Ménard, artistic director of the Montreal Jazz Festival -- a terse and apt summation of not only jazz but also his festival and the city of Montreal itself. The festival -- beginning its 28th annual edition June 28 and running through July 8 -- is the biggest of its kind in the world, an event that features more than 350 free outdoor concerts and 150 paid indoor shows. It is expected to draw more than 200,000 attendees, yet it manages to feel intimate. It's hard to imagine how a music festival that traffics in such numbers could be as sophisticated, smooth running, user friendly -- and inexpensive -- as Montreal's, but it is. Purists may raise eyebrows over the fact that two of the festival's headliners are Bob Dylan and Van Morrison (both shows are sold out), but this festival long ago got past distinctions of genre. In fact, in booking nonjazz acts, which Montreal started doing about 20 years ago, it pointed the way to survival for every major jazz festival, including San Francisco, whose fall lineup includes nonjazz acts Caetano Veloso and Ravi Shankar, and Monterey, where Los Lobos and DJ Logic will perform. "In 1986, when we last programmed Van Morrison, people questioned it, but he was on the cover of (jazz magazine) Down Beat three months later," Ménard says. "I wish every jazz album was as spiritually strong as Van Morrison's music. ... And as for Dylan, the way he redoes his songs -- that's a jazz attitude." Attitude is the right word. It's the thread that connects jazz acts the festival is producing this year, like Keith Jarrett, Jack DeJohnette, Dave Holland, Wayne Shorter and Bill Frisell, with world music acts like Angélique Kidjo, Femi Kuti and Richard Bona, with rock acts like Garth Hudson, Rickie Lee Jones and the Cowboy Junkies. It's not a punk or grunge attitude, obviously, but a dedication to musicianship and exploration -- a willingness to stretch and take chances. A jazz attitude. The strong world music presence at the festival -- 30 countries are represented, from a Chinese jazz singer covering Patsy Cline, to French new-wave pop, to Italian barrel percussionists, to Malian kora, to Australian didgeridoo, to Garifuna singers -- is appropriate, given the diverse ethnic mix of Montreal, which, as home to 80 nationalities, is considered North America's gateway to Europe and beyond. That is true even though almost everyone younger than 60 speaks English fluently. Centrally located downtown at the complex of theaters, museums and hotels called Place des Arts, the Montreal Jazz Festival packs all the action into a relatively compact space. Free outdoor shows are on nine small -- and one whopper -- stages, and 12 indoor venues feature the paid nighttime shows. The festival doesn't only stick the little-knowns on the outdoor stages, either. This year, a Brazilian carnival bash with Carlinhos Brown gets things going June 28; last year, it was the Neville Brothers. With more than 50 performances a day, it's clearly too much to take in, so it's a good thing adventure beckons outside the Place des Arts from any direction you choose. Heading south toward the St. Lawrence River, you'll hit Old Montreal, where you can easily spend an afternoon investigating the cobblestone streets, some with buildings dating to the 17th and 18th centuries. Stop at any of the many bistros offering mussels and pomme frites, usually with a good selection of French and Belgian beers and, of course, wine. Continue south to the river and at 27 De La Commune, you'll find Boutique Ça Roule, where you can rent bicycles -- a great way to see the city. But if dodging traffic sounds daunting, there's a leisurely ride to be had along the tree-lined Canal de Lachine, where heading west you can stop at the Marché Express, Montreal's equivalent of the Ferry Plaza Farmers Market, only it's open every day. Less than a mile northeast of the festival grounds are enticing residential neighborhoods of many ethnic flavors along Boulevard St.-Laurent and Rue St.-Denis -- including the Latin Quarter, where last summer a spontaneous parade broke out, clogging streets, when Portugal defeated England in the World Cup soccer quarterfinals. Keep heading north along St. Laurent and you'll hit the Jewish neighborhood that gave the world, believe it or not, William Shatner. Now we can settle for old-school deli sandwiches and soda-fountain drinks at Wilensky's Light Lunch, or superb bagels at La Maison du Bagel or St. Viateur Bagel. Heading back south to the festival, consider having dinner at what many call the most authentic French bistro in the city, L'Express. There's nothing pretentious about this spot. It's all business, packed with locals who seem ecstatic to be there, digging into bowls of bouillabaisse or scarfing pate foie gras or bone marrow, and tossing back wine that practically dances in the glass. There's so much more to do: great museums, galleries, beautiful parks, a 20-mile underground city where people spend much of their time in the frigid winter, day trips to the Laurentian mountains. Once you've spent a day exploring the city, the music back at the festival -- be it danceable, cerebral or both -- offers a way to relax and synthesize your experiences, processing them through the sensual to the aesthetic to the spiritual and back. That's jazz, and that's Montreal. -------------------------------------------------------------------------------- If you go All locations are in Montreal. Prices are in Canadian dollars. Getting there From San Francisco, Air Canada flies nonstop to Montreal. A number of airlines offer one-stop connecting flights. Where to stay Hyatt Regency Montreal: Online rates for doubles from $244 (about $229 U.S.). 605 modern rooms and suites across from the Place des Arts. 1255 Jeanne-Mance. (514) 982-1234, montreal.hyatt.com. Hotel Place des Arts: Eight air-conditioned rooms, studios and suites in a renovated Victorian building downtown. $40-$80 ($37.55-$75.10 U.S.). 270 Rue Sherbrooke W. (514) 995-7515, http://www.hotelplacedesarts.com. Where to eat L'Express: Bustling traditional French bistro. Entrees $12-$22 ($11.27-$20.65 U.S.). 3927 Rue St.-Denis. (514) 845-5333. Wilensky's Light Lunch: Tiny shop serving classic deli fare 9 a.m. to 4 p.m. weekdays. Entrees less than $10 ($9.39 U.S.). 34 Fairmount St. W. (514) 271-0247. What to do Montreal Jazz Festival: June 28-July 8. Various venues across the city. $12.50-$87.50 ($11.73-$82.14 U.S.); many free performances. (888) 515-0515, http://www.montrealjazzfest.com. For more information Tourisme Montréal: (877) 266-5687, http://www.tourisme-montreal.org. E-mail David Rubien at [email protected] http://sfgate.com/cgi-bin/article.cgi?f=/c/a/2007/06/21/DDG4MQI4M71.DTL This article appeared on page E - 3 of the San Francisco Chronicle
  16. TVA pas rapport mais je la trouvais belle Cour arrière très laides près du pont Pont Radio Canada 2 Églises Rue Ste-Catherine Boul. René Lévesque Molson :cheers: Traffic sur le pont Porc Autoroute Ville-Marie 1000 Port Train Fleuve St-Laurent Plus belle vue possible sur le skyline :banana: La ville avec son fleuve Bateau de plaisance Passerelle ... ça shake en sale ça avec le traffic pis les van :sly: Twins !
  17. Atze

    La Station (2012)

    Patrimoine - Station-service moderniste en danger Le Devoir Stéphane Baillargeon Édition du mardi 06 janvier 2009 Mots clés : station-service, Mies van der Rohe, Conseil du Patrimoine, Montréal Le Conseil du Patrimoine veut sauver la création de Mies van der Rohe, maintenant barricadée sur l'île des Soeurs L'ancienne station-service Esso de l'île des Sœurs a été conçue par l'architecte Ludwig Mies van der Rohe en 1968. On lui doit aussi le complexe Westmount Square, son dernier grand projet, inauguré en 1966. Photo: Jacques Nadeau Un pied sur le frein, un autre sur l'accélérateur. La mauvaise nouvelle, c'est que la station-service de l'île des Soeurs conçue par l'architecte Ludwig Mies van der Rohe en 1968 est fermée et barricadée depuis la mi-décembre. La bonne nouvelle, c'est que le Conseil du Patrimoine entamera dès la semaine prochaine des démarches officielles pour citer le bâtiment moderniste, selon les informations obtenues par Le Devoir. La citation d'un immeuble vise à faciliter sa sauvegarde et sa mise en valeur, sans toutefois les garantir. «Nous avons eu plusieurs réunions depuis l'automne avec le Bureau du patrimoine de la ville au sujet de la station-service», explique Marie Lessard, professeure à l'Institut d'urbanisme de l'Université de Montréal et présidente du Conseil du patrimoine de Montréal (CPM), l'organisme consultatif de la ville en la matière. La première réunion au sujet de la citation aura lieu lundi prochain. La présidente ajoute que la ville-centre et l'arrondissement de Verdun, de même que le groupe d'étude et de défense du patrimoine moderne Docomomo Québec, ont été «très impliqués» dans la préparation du dossier d'appui à la sauvegarde de la station-service. «Tout le monde est très conscient de sa valeur», rassure Mme Lessard. «La volonté de citer ce bâtiment est une excellente nouvelle, commente Dinu Bumbaru, directeur des programmes du groupe de défense du patrimoine de la ville Héritage Montréal. Nous avons besoin de ce genre de reconnaissance pour enrichir le catalogue et étendre la notion de patrimoine. Même si on déteste l'automobile qui a façonné le XXe siècle, il faut bien reconnaître les qualités indéniables de cette station-service assez unique au monde.» Trésor patrimonial Son importance a été mise en évidence en 1992 dans un rapport de Docomomo, puis dans une étude du CPM publiée en octobre 2005. Après avoir acheté le territoire agricole à la Congrégation Notre-Dame de Montréal en 1955, la Quebec Home and Mortage Corporation Limited a associé Mies van der Rohe au développement du «plus merveilleux domaine résidentiel de l'Amérique du Nord». On lui doit aussi le complexe Westmount Square, son dernier grand projet, inauguré en 1966. Sur l'île, il a finalement participé à la conception du plan d'ensemble et a conçu cette fameuse station-service. Les pompes à essence originales ont déjà disparu. L'aire d'accueil (y compris ses meubles) a subi de nombreux réaménagements. «Il apparaît que le bâtiment devrait être maintenu dans son intégrité et restauré, concluait le CPM en 2005. Si la station-service perdait l'usage pour lequel elle fut conçue, le recyclage devrait maintenir les qualités architecturales du bâtiment.» Le Magazine, l'hebdo de l'île des Soeurs affirmait le mois dernier que l'arrondissement de Verdun, dont relève le secteur, songeait à installer un centre communautaire dans le garage moderniste. Le trésor patrimonial occupe un grand terrain du boulevard de l'Île-des-Soeurs qui appartient maintenant à un des grands promoteurs immobiliers du secteur, la Proment Corporation, dont il a été impossible d'obtenir un commentaire hier. Au total, il y a trois ans, le terrain et le bâtiment n'étaient évalués qu'à 681 000 $, soit le prix d'un grand condo dans ce coin huppé de la ville. La station Esso était exploitée en franchise depuis quatre décennies. La pétrolière détient l'exclusivité des droits de vente d'essence dans le secteur. Mike Terzian, le garagiste expulsé à la mi-décembre, cherche toujours à se relocaliser sur l'île avec sa dizaine d'employés. Le projet de déménagement dans un ancien entrepôt, sur le chemin du Golf, est tombé à l'eau sous la pression des riverains. «Nous acceptons la décision d'Esso, dit-il. Par contre, c'est un non-sens de ne pas pouvoir offrir de service aux automobilistes de l'île.»
  18. La solution: armer les étudiants, estime le lobby des armes à feu Alexandre Sirois «Un troupeau de moutons.» C’est l’image qui vient à l’esprit de Philip Van Cleave lorsqu’il pense aux étudiants qui ont été froidement abattus par Cho Seung-hui lundi matin en Virginie. Des moutons parce qu’ils étaient tous désarmés et donc «impuissants», explique cet informaticien quinquagénaire, président d’un des principaux groupes du lobby des armes à feu de cet État, la Virginia Citizens Defense League. «Parmi les étudiants enfermés qui ont été exécutés, si un seul avait eu une arme à feu, le dénouement aurait pu être complètement différent», soutient M. Van Cleave. Or, la Virginie a beau être un des États américains où le contrôle des armes à feu est le moins sévère, les étudiants armés ne peuvent pas se présenter sur les campus universitaires. Même s’ils ont un permis de port d’armes. «Nous pensons que c’est inacceptable. La vie est précieuse et on doit permettre aux gens de protéger la leur», dit M. Van Cleave, dont le téléphone ne dérougit pas depuis la fusillade. Le message à retenir de cette tragédie est d’ailleurs à son avis très simple : c’est que «le contrôle des armes à feu ne fonctionne pas». C’est pourquoi le lobby des armes à feu en Virginie compte accroître ses pressions pour que les étudiants âgés de 21 ans et plus puissent porter une arme sur les campus, moyennant l’obtention d’un permis. Cela fait d’ailleurs deux ans que ces militants tentent de convaincre les politiciens de l’État d’adopter un projet de loi à cet effet. Par deux fois, cependant, ce projet de loi n’a pu franchir le cap du sous-comité parlementaire. Les organismes en faveur du contrôle des armes à feu vont donc vraisemblablement continuer à s’arracher les cheveux en Virginie. Un État conservateur qui a voté à deux reprises pour le républicain George W. Bush et qui figure bon deuxième – derrière le Texas – quant au nombre de détenus exécutés ces dernières années. Un État où on ne vérifie pas les antécédents des acheteurs d’armes à feu si la transaction est conclue lors d’un « gun show », par exemple. Et un État où il y a bien peu de restrictions à l’achat d’armes de poing comme celles utilisées par Cho Seung-hui. Pas besoin de permis pour en acheter une. Ni de formation particulière. Pour ce qui est du pourcentage d’armes achetées dans un État particulier et utilisées par la suite lors de crimes, la Virginie se classe d’ailleurs parmi les meneurs, selon une étude citée hier par le réseau ABC. Ce laxisme ne serait-il pas plutôt à la source de carnages comme celui de lundi, comme l’affirment plusieurs tenants du contrôle des armes à feu ? Pas du tout, estime M. Van Cleave. «Si vous avez l’intention de blesser ou de tuer quelqu’un, vous ne vous préoccupez pas des lois. Vous allez trouver une arme à feu. Les criminels peuvent en obtenir comme ils peuvent obtenir du crack ou de la cocaïne n’importe où même si c’est totalement illégal», dit-il. «Il va la voler, l’acheter sur le marché noir ou même la fabriquer, poursuit-il. Vous pouvez en faire une avec un stylo. Ce n’est pas une bombe atomique, c’est quelque chose de très simple à faire avec quelques outils. Des criminels le font.» Sans surprise, M. Van Cleave se dit «très découragé» par les lois canadiennes sur le contrôle des armes à feu. «Il y a des fous chez vous aussi ! C’est pourquoi on devrait permettre aux Canadiens de se protéger, lance-t-il. Le gouvernement devrait vous faire confiance à ce sujet.» _____________________________________________________________ QUEL CON ! ! ! wow, c'est triste..... ils devraient avoir honte.....ils veulent juste s'en mettre pleins les poches..... moi aussi je me suis dit que c'était dommage qu'un élève n'ait pas eu une arme sur lui à ce moment là pour tuer le tireur fou....mais ça n'a pas de sens, immaginer une classe avec des éleves armés....c'est pas moi qui voudrait être prof....
  19. Le Louis-Bohème : parfaitement hideux Le Crystal : look de parvenu Place Dupuis : insipide et fade Hydro Québec : perdu entre l'Art Déco et Mies Van Der Rohe Maison Astral : trop tronquée, dommage Y'en a plein d'autres bien entendu.