Maison symphonique de Montréal (2013)

[Gbx]

C'est vraiment perso tout ça, mais je trouve cette femme complètement inutile et factice.

 

Haha, les chroniqueurs du "café du commerce la presse", ça vole rarement très haut.

 

Pour les archives de Mtlurb, des photo publiées sur le site de la gozet':

 

 

 

 

Les lignes blanches dans l'auditorium sont des moulures (non présentes sur les "rendus") utilisées pour l'acoustique.

Modifié 2 septembre 2011 par Gbx

[LaRonde]

C'est bien beau, mais à mon avis il y a un peu trop de bois. C'est peut-être l'angle de visionnement qui cause celui-ci. Par exemple sur la première photo, le bois est présente en grande quantité, c'est comme si on voyait juste du bois partout. Tandis que sur la deuxième photo, la salle est beaucoup plus belle.

 

Je comprend très bien ce choix de matière puisque le bois fait raisonner le son produit par les instruments de musique, mais ils auraient dû en réduire un petit peu.

[Mathkow]

31 Aout 2011

 

 

[IluvMTL]

http://www.theglobeandmail.com/news/arts/music/montreals-new-symphony-hall-is-about-to-make-its-debut-acoustically-will-it-thrill/article2151614/

 

 

7 more pics here:

http://www.theglobeandmail.com/news/arts/music/inside-montreals-new-symphony-hall/article2151945/?from=2151614

 

Montreal’s new symphony hall is about to make its debut. Acoustically, will it thrill?ROBERT EVERETT-GREEN

MONTREAL — From Saturday's Globe and Mail

Published Friday, Sep. 02, 2011 5:00PM EDT

 

The backstage area is still mostly raw concrete, and sheets of bright green insulation are visible on the exterior. But the essential part of Montreal’s new symphony building – the hall itself – is ready for its public debut this week.

 

Like many projects that take decades to get started, this one is finishing at a gallop. Workmen were still prowling around as the musicians of l’Orchestre symphonique de Montréal had their first chance to play in their new principal home at Place des Arts last week, and the word is that they liked what they heard.

 

Inside Montreal's new symphony hall

 

The new 1,900 seat-auditorium is a very shapely container. Toronto architects Diamond + Schmitt and a pair of acoustical consultants (Sound Space Design’s Bob Essert, working under contract to the architects; and Artec’s Tateo Nakajima, reporting to the Quebec government) have left almost no surface without some kind of curve. Sounds reflecting off a curved surface spray off in many more directions than if they meet a flat wall. More reflections mean a richer, more involving sound, enhanced down to a fine level by roughening the finish of some surfaces. Three balconies, extending all the way to the back of the stage, bring the seats closer to the music. The ideal is that the music will reach the audience sooner, from more directions, and with more impact and clarity than it ever did at the 2,900-seat Salle Wilfrid-Pelletier next door.

 

The promise of better acoustics is the whole raison d’être for l’Adresse symphonique, the first cultural building to be raised under the province’s recent legislation governing private-public partnerships. Everything outside the auditorium – backstage and front-of-house areas, foyers and delivery spaces – have been fit into a tight footprint at Place des Arts, with not much in the way of optional amenities.

 

The auditorium is acoustically isolated from the city, and equipped with noiseless heating and cooling systems. It’s the same set-up as at Toronto’s Four Seasons Centre, another Diamond performance space, with which l’Adresse symphonique has much else in common. As in Toronto, it will take some time for Montreal ensembles (including l’Orchestre métropolitain and Les Violons du Roy) and their audiences, accustomed to the acoustical blurriness of Wilfrid-Pelletier, to adjust to a space in which every sound is exposed.

 

Visually, the watchword from Jack Diamond is “calmness.” The interior is lined with light-toned Quebec beech, the seats are a wheat colour. The lobbies on three levels, visible from the street and also partially to each other, will express a “minimalist calmness and simplicity,” says Diamond. “The architecture should be present but not overwhelming.” He believes it should also invite people in, which is why he was determined to put the big glass front on Rue Saint-Urbain, and not have the eyes of the building turned in toward the rest of Place des Arts.

 

In the end, the overwhelming part of this adventure should happen once the concerts begin. Will the sound electrify the public, send it away wanting more, make l’Adresse symphonique one of Montreal’s cultural hot spots? The beginning of the answer happens on Wednesday.

[IluvMTL]

The author of this article doesn't seem to know the difference between an Opera House and a Concert Hall, so he just lumps them together...

 

 

http://www.thestar.com/news/canada/article/1048166--montreal-orchestra-s-new-home-a-boxy-bore-that-suits-musicians

 

Montreal orchestra’s new home boring, boxy, and for some just right

Published On Fri Sep 02 2011Email Print (4)

 

In terms of design, the Sydney Opera House is arguably the most renowned theatre in the world. Housing seven venues, the iconic Australian building was designed by Danish architect Jørn Utzon and opened in 1973. The structure is most famous for its unique "shell" roof design, which were made using precast concrete panels.

DREAMSTIME

Andrew Chung

Quebec Bureau

 

Montreal's controversial new opera house is big, boxy and an architectural bore. Turns out, that's just how the musicians like it

 

MONTREAL – There’s the psychedelic, honeycomb glass skeleton of the Harpa Reykjavik Concert Hall, or the impossibly space-age Guangzhou Opera House that made one critic want to “burst out in song,” the most recent examples of concert halls that have captured international renown, along with imaginations and emotion, as many are designed to do.

 

That’s not the case in Montreal, where the new home of the Montreal Symphony Orchestra, the “Adresse Symphonique,” is being given its final touches for an inaugural performance Sept. 7.

 

Mostly what this building has captured is a lot of depressing commentary.

 

Critics say it’s a building that is painfully unmemorable, a missed opportunity to give Montreal a new architectural spark. Some blame the process out of which it was born, a public-private partnership, for the uninspired result.

 

On the other hand, the acoustics are said to be stellar, a characteristic the building’s defenders argue is most important.

 

“I think we could have gone for a more, let’s say daring, proposal, something more in harmony with the creative spirit of Montreal,” said Georges Adamczyk, a professor of architecture at the Université de Montreal who consulted with the government at the proposal stage.

 

“It doesn’t necessarily have to be a nice building, but it has to be interesting or surprising, and I don’t think we have that. It’s not bad building. It’s a good Diamond and Schmitt building. But it’s not their best.”

 

Diamond and Schmitt is the same Toronto firm that designed Toronto’s Four Seasons Centre for the Performing Arts. There is a similarity at first glance, with the buildings in Toronto and Montreal both featuring glassy front foyers and stone walled sides.

 

Toronto’s opera house itself received some lukewarm reviews. Notably, the Toronto Star’s own architecture critic, Christopher Hume, named it one of the city’s new “worst” buildings, saying its facades delivered a “deadening effect” to the street.

 

Architect Matthew Lella, who worked on both buildings, allowed only that the “esthetic” was similar in Montreal but the design was a bit different.

 

“Like two Radiohead records,” he said in an interview. “Different sound but the same thread.”

 

Critics have not been kind. Lise Bissonnette, a heavyweight on Montreal’s cultural scene who oversaw the construction of the lauded, ultramodern provincial library and archives, told Radio-Canada she thought the new concert hall was a “missed opportunity.” It’s an “acceptable building,” she declared, “but not one that will be a signature for Montreal.”

 

Some point to the project being a public-private sector partnership as limiting the artistic vision from the start in favour of concerns over financing and management.

 

As it stands, a consortium led by construction firm SNC Lavalin will manage the building for 30 years. The cost to build and operate the hall over that time is estimated at $259 million. The government will rent the space.

 

The process meant that the decision on which team to choose was made behind closed doors, and was a “business case,” said André Bourassa, president of the Quebec Order of Architects. The public didn’t get to see the other proposals and thus debate the designs. In this way, Bourassa said, “the architecture is not the determining element.”

 

Lella, the project architect, says all the criticism is premature. “The building isn’t even open yet,” he said. “So nobody really knows if it’s audacious or not yet because nobody’s lived in it.”

 

“It’s not a fashion building, not one that’s ‘a la mode,’” ventured project director Michel Languedoc, of the Montreal firm Aedifica. “It’s a building that spends the money to make sure users will have a great experience.”

 

It respects taxpayers, Languedoc added, noting he’s done some calculations and found that Icelanders are paying about $1,000 per person for their new concert hall. Montrealers will pay about $15 each.

 

Adamczyk was more concerned about what it means for the city’s cultural prowess. “Montreal has the ambition to be a cultural metropolis. When we see our competitor Toronto put forward the idea of investing in culture. . . it seems that there, some people have said we are going to do something and they did it.

 

“In Montreal we have the feeling we talk a lot but have not done it.”

 

Retired teacher and orchestra-lover Alan Strand is simply happy the new concert hall is here. They’ve been talking about one for decades.

 

On Thursday, the Lachine resident took a walk in downtown Montreal to see it for himself.

 

His assessment? “Well, the glass part is kind of boring. It’s not the Sydney Opera House, or the Spanish Guggenheim,” he said. “Obviously they went with acoustics rather than architectural statement. It’d have been nice if they did both. But these are hard times.”

 

All that said, he was quick to qualify his impression.

 

“It looks okay.”

 

Where the fat lady sings

 

COPENHAGEN

 

Henning Larsen’s Copenhagen Opera House was one of the most expensive opera houses ever built. The 14-storey building cost more than US$500 million that was donated by a foundation. It was completed in 2004.

 

MIAMI

 

The Adrienne Arsht Center for the Performing Artsis one of the world’s largest. Opened in 2006, it was designed by Cesar Pelli and straddles a boulevard.

 

REYKJAVIK

 

Henning Larsen also designed Harpa, the Reykjavik Concert Hall and Conference Centre, with Olafur Eliasson. The building, which boasts more than 10,000 windows, opened in May 2011.

 

OSLO

 

Completed in 2007, the Oslo Opera House was designed by the architects Snøhetta. It features an interior “wave wall” and a sloping exterior “carpet” leading to the roof. The building opened in 2008.

 

SYDNEY

 

An exception to the apparent rule, the Sydney Opera House opened in 1973 and is still considered a modernist wonder. Designed by Jørn Utzon, it was included on UNESCO’s World Heritage List in 2007.

 

View our full gallery of images

http://photogallery.thestar.com/1047934

Modifié 2 septembre 2011 par IluvMTL

[uqam+]

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Modifié 10 novembre 2011 par uqam+

[IluvMTL]

It's too bad the PPP weren't able to completely finish the exterior of the building on time for the inaugural concert. The eyes of the music world will be on us next week and they won't be able to judge the aesthetics of the building properly. I suppose that this was known well in advance, but they accpeted anyway,rather than move in mid-season.

Modifié 3 septembre 2011 par IluvMTL

[IluvMTL]

A new sculpture to be visible from de Maisonneuve.

 

 

http://www.montrealgazette.com/entertainment/concert+hall+house+that+Jack+Diamond+built/5346682/story.html

 

As for that partly transparent east wall, its array of interior pillars, walkways (and, eventually, a hanging tubular sculpture) will not only make a democratic statement but create an animated visual terminus for pedestrians and motorists gazing down de Maisonneuve Blvd. Diamond was mortified by the prospect of an opaque, exclusionary wall at the end of this vista.

[MtlMan]

des violons du Roy un orchestre de chambre montréalais, alors qu'ils sont de Québec.

 

Oui, mais ils font presque autant de concerts à Montréal qu'à Québec! La seule raison qui en donne plus à Qc, c'est que plusieurs de leurs programmes sont répétés deux fois dans la même journée au Palais Montcalm (genre 14h et 20h).

 

Et depuis quelques années, leur saison montréalaise est de plus en plus longue......

[IluvMTL]

There is an exhibit regarding the construction of the concert hall in the exhibit space of Le Foyer Culturel right now. Besides photos and a maquette of the hall, there are 2 seats on display, so you can see the HVAC system under the chairs up close.

This is also suppossed to be the meeting point for the open house group tours from Sept 8-10.