MONTRÉAL, DESIGN OF THE CITY / CITY

OF TOWARDS DESIGNATION AS A UNESCO CITY OF DESIGN DESIGN APRIL 2006 L’Actualité, novembre 1967 FOR THE PRESENT PURPOSES, DESIGN IS DEFINED IN ITS BROADER SENSE, INCLUDING ALL THE CREATIVE DISCIPLINES THAT SHAPE AND HAVE THE POWER OF QUALIFYING AND ENRICHING OUR LIVING ENVIRONMENT: LANDSCAPE ARCHITECTURE, URBAN DESIGN, ARCHITECTURE, INTERIOR DESIGN, INDUSTRIAL DESIGN, GRAPHIC DESIGN, FASHION DESIGN. RRR FOR THE CITY OF MONTRÉAL, DESIGN IS AN ACTIVITY OF IDEATION, CREATION, PLANNING, PRODUCTION AND MANAGEMENT THAT INFLUENCES THE QUALITY

OF ITS LIVING ENVIRONMENT, /7 MAKES ITS ECONOMY MORE COMPETITIVE, PARTICIPATES IN ITS CULTURAL EXPRESSION AND STRENGTHENS ITS IDENTITY AND THAT OF ITS BUSINESSES. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Founded in 1642, Montréal has been a city of immigrants for four centuries. The only French-speaking city in North America where its population of more than 1,500,000 is predominantly bilingual and many of them speak a third language, Montréal comprises representatives of both the French- speaking and English-speaking communities, augmented by some 150 other communities of diverse origin making up 34% of its population. l A modern metropolis that burst onto the international stage with the Expo ’67 World’s Fair, Montréal is now a knowledge city and ’s leading investor in university research. It is home to two French-speaking and two English-speaking universities, representing a total of 11 university institutions, along with approximately 50 Canada Research Chairs involved in developing a multitude of international networks. l Montréal has a healthy economy, and optimism is the name of the game for the 2007–2010 period with an average expected annual economic growth of 2.9%. Montréal’s cutting-edge economic sectors are aerospace, information technology and biopharmaceuticals. l Design in Québec is a development EXECUTIVE sector full of promise, and Montréal is where its economic impact is being felt the strongest. The latest statistics show the economic impact of design in Québec to be $1.18 billion, representing 31,173 jobs and making it the SUMMARY province’s largest cultural sector. The Greater Montréal area is where 65.3% of design workers call home, representing 20,356 jobs and eco- nomic benefits of more than $750 million. l Montréal’s emergence onto the international scene as a city of design is confirmed by the sustained activity of the past twenty years, starting back in 1986, when design was recognized as a top-priority development sector. Design has thus become one of seven strategic directions guiding the region’s economic develop- ment, and governments have mobilized to make Montréal a world-class design centre. l Montréal is the only city in North America that created a design office (Commissariat au design) in 1991 devoted exclusively to the development and promotion of design in the city. Montréal also has an extensive network of institutions dedicated to promotion and dissemina- tion, and designers from all disciplines are increasingly making their mark as a driving force of cultural and economic life. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR l Design is now a rallying point that is rather unique in Montréal since design quality became an objective in all municipal policies and strategies (Economic Development Strategy, Urban Plan, Heritage Policy, Cultural Development Policy, Strategic Plan for Sustainable Development). This objective is also an integral part of the plan known as Imagining – Building Montréal 2025 – A World of Creativity and Opportunities, launched in September 2005, which states: “Montréal wants to be one of the most attractive cities in the world because quality of life is a critical factor in the success of cities serving as beacons of the 21st century. As a consequence, to make Montréal an outstanding place to live, the City will be paying much closer attention to design and to the quality of urban planning, all with the goal of sustainable development.” l On the strength of this recognition of design, the arrival of International Design Alliance’s head office in 2005, Commerce Design’s outstanding performance over the past ten years, and the New Design Cities symposium and book, which inspired the , Design of the city/City of design integrated strategy and prompted creation of the Design Montréal Task Force, the City now wants to do everything in its power to ensure the success of its future activities and, in that regard, the potential designation of Montréal as a UNESCO City of Design arrives at a strategic time. l Indeed, being named a UNESCO City of Design will provide extraordinary leverage for rallying Montréalers around a common vision, fuelling new partnerships and facilitating the implementation of its design action plan. At the same time, membership in the UNESCO Creative Cities network is a unique opportunity for asserting Montréal’s leadership as a pole of design excellence and reinforcing its vocation as an interna- tional city. Because of the innovative nature of its design action plan, its designers and institutions who make up the exceptional human capital, and its long tradition of co-operation and sharing of knowledge and know- how, Montréal is poised to make a significant contribution to the develop- ment of the UNESCO Creative Cities network. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR BACKGROUND RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR 09 INTERVIEW WITH THE MAYOR OF MONTRÉAL 12 THE CITY OF MONTRÉAL RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR LAUNCHES THE BOOK DESIGN: CORE DRIVER OF THE NOUVELLES VILLES DE DESIGN / IMAGINING. BUILDING NEW DESIGN CITIES MONTRÉAL 2025 PROJECT RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR MONTRÉAL IN GENERAL 60 RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR MUNICIPAL STRATEGIES TABLE 14 RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR MONTRÉAL, METROPOLIS MONTRÉAL, 20 SEEKING DESIGNATION AS /07 OF MONTRÉAL: AN OVERVIEW A UNESCO CITY OF DESIGN 22 RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR MONTRÉAL DESIGN 69 CONTENTS IN NUMBERS MONTRÉAL, ACTIVE RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR AND INVENTIVE MONTRÉAL DESIGN, RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR FROM YESTERDAY TO TODAY APPENDIX RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR 24 70 THE EMERGENCE OF MONTRÉAL MODERNITY 26 OLD MONTRÉAL 28 CREATIVITY AS A SIGN OF MONTRÉAL HOSPITALITY OF APPLICATION BACKGROUND FOR MONTRÉAL, UNESCO CITY OF DESIGN RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR DO YOU CONSIDER MONTRÉAL TO BE A NEW DESIGN CITY? First of all, I believe that to be a design city it is not enough simply to announce it. You have to be very careful when you adopt slogans like “Montréal, capital of” this or that. Although it may be useful and important for consolidating a city’s reputation, it must nevertheless reflect reality. I would therefore prefer to call Montréal a young design city, an emergent design city on the international scene. Why? Because design and design- ers represent a dynamic force in the culture and economy of Montréal, and INTERVIEW the city is constantly gaining a better understanding of how this creative power can be used to serve the quality of its living environment. l Propelled onto the international stage by the 1967 World’s Fair, Montréal is WITH THE a modern city that draws both the curious and those interested in culture and design; they move here or come as tourists. People who choose to make Montréal their home like the access to a high-quality life style, while MAYOR OF visitors are stimulated by the ambient creativity or attracted by the diversi- ty of the retail offerings. All of these factors led to the recent decision /09 by the International Design Alliance (the joint secretariat of ICSID and MONTRÉAL, ICOGRADA) to establish its head office in Montréal. This choice was made from among some thirty candidate cities, and we are very proud of it. Montréal has some major assets to offer—numerous designers, high-quality GÉRALD educational institutions, and well-known exhibition centres—but I think that our main strength, and our distinction as a design city, is linked to the dissemination of creative design and architecture throughout the city, without TREMBLAY regard to the size or nature of the project. There is a subtle omnipresence Extracts from the interview in the book Nouvelles villes de design, Éditions Infopresse, septembre 2005 pp 124-127 of creativity —discreet or dazzling—resulting from the increased accessi- bility of design, which in too many cities is reserved for the elite or confined to downtown areas. Thanks to initiatives such as Commerce Design Montréal and similar awareness-raising campaigns by a number of partners, DESIGN IN MONTRÉAL IS NOT SIMPLY FOR SHOW BUT A SOURCE OF DAILY WELL-BEING, AND IT IS BECOMING A BASIC VALUE FOR MONTRÉALERS. AS ITS CITIZENS BEGIN TO ACCEPT THIS FACT, MONTRÉAL WILL INEVITABLY ASSERT ITS STATUS AS A DESIGN CITY. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR WHAT HAS YOUR PERSONAL CONTRIBUTION BEEN TO FACILITATING THE EMERGENCE OF YOUR DESIGN CITY? First, I would say that I believe profoundly in the importance of design. And this conviction was not born yesterday. When I was minister of industry, science, and technology of Québec, from 1989 to 1994, I instituted the tax credit for design, a fiscal measure that was decisive in stimulating private investment in research and innovation in design; it is still in force today. This incentive expanded the market for Québec designers, almost two- thirds of whom are concentrated in Montréal. Under the initiative of Bernard Lamarre, I also supported the creation of the Institut de Design Montréal, whose mission is to promote design as an economic value and to make Montréal an international-calibre design centre. As mayor, I make decisions every day that have an impact on design in the city. It is my responsibility to be aware of this and to surround myself with people with the skills necessary to inform my judgments. We have therefore created a number of bodies that have this advisory role, including the Heritage Council and, especially, the Design Commission. Montréal is the only Canadian city to have a commissioner devoted exclusively to promoting design. This position, created by my predecessors fifteen years ago, has greatly con- tributed to the development of design in Montréal. My own contribution, no doubt, will have been to immediately recognize the strategic importance of /10 this position within the municipal government and to support its actions and interventions. The challenge now is to broaden the scope of the com- mission’s involvement with design in the city for an integrated approach to highlighting design in all our actions within our borders. The city, as an institution, must provide an example and be innovative in what it does. Being a better client for designers can help us better shape the city. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR WHY DO YOU BELIEVE THAT POSITIONING YOUR CITY THROUGH DESIGN IS IMPORTANT? Design has meaning only when it enables human beings to live well and thrive. Design is important because it has an immense impact on our lives. Think, for example, of the design of products of all sorts, work environ- ments, houses, parks, streets. l Thus, aspiring to become a design city means above all being concerned with the well-being of the citizens. It means advocating a better quality of life in a perspective of sustainable development. IN FACT, DESIGN IS AN EXTRAORDINARY TOOL OF SOCIAL INCLUSION. WESTERN CITIES ARE IN A PHASE OF RESTORING QUALITY (RECYCLING, REUSING, RESTORATING, REHABILITATING) IN A CONTEXT OF UNPRECEDENTED SOCIO-CULTURAL CHANGE, WHICH IMPLIES A COMPLETELY NEW COHABITATION OF POINTS OF VIEW AND A PLURALITY OF VALUES. l

01 Montréal Jazz Festival 01 Recently, a design workshop was organized to choose a team of designers to develop an identity for the de Montréal. This exercise in contextual design, which led to the selection of Swiss designer Ruedi Baur and Montréaler Jean Beaudouin of the Intégral international network, was more than simply a process of selecting professionals. Above all, it offered a forum for enriching the reflection on the expectations and needs of the different, sometimes divergent, interest groups that exist in the city, which generate an inclusive common vision indispensable to the project’s success. To see design as essential to the future of Montréal is to seize the opportunity that this powerful design process offers us to RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR [re]shape the city and everyone who lives in it. WHAT SHOULD THE ROLE OF THE CITIZEN, RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR THE DESIGNER AND THE POLITICIAN BE IN THE DEVELOPMENT WHAT EXAMPLES OF DESIGN PROMOTION STRATEGIES OF A DESIGN CITY? DEVELOPED IN OTHER CITIES HAVE INSPIRED YOU? Citizens must be critical and demanding. They must know how to recog- Montréal is a member of various international networks of cities nize, appreciate and ask for high-quality design and architecture. They (Metropolis, Association Internationale des Maires Francophones [AIMF], must also have a sense of responsibility for their living environment. United Cities and Local Governments [UCLG]), and we have signed part- Designers must initiate new ideas and be mediators. They are experts who /11 nership agreements with cities all over the world. These relationships con- must inspire and fully assume leadership. They must know how to trans- stantly feed into our thoughts and enhance our practices. Design has a late, put into concrete form and project the aspirations of the elected offi- cross-disciplinary aspect that touches many dimensions of municipal life, cials and citizens. As for elected officials, they must have a unifying vision so we were inspired by the many actions taken by our colleagues in other and take the risk of innovation both in choosing projects that are presented cities, such as the lighting plan for Lyon. The Biennale Internationale to them and in the implementation of processes. Design in Saint-Étienne has also been an important source of inspiration RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR for us. Because we are highly motivated to make design accessible, we would like to use certain basic principles of Saint-Étienne’s concept to cre- ate a similar biennale in Montréal focusing on the . More recently, as we have been looking for ways to provide Montréal with an integrated strategy for highlighting design articulated around the idea of an “innova- tive platform in design,” the British CABE (Commission for Architecture and the Built Environment) model has inspired us enormously. We are con- vinced, among other things, that it would be very useful to form “design champions” as essential conduits through which to promote design quality in all boroughs of Montréal. CITY OF MONTRÉAL LAUNCHES THE BOOK NOUVELLES VILLES DE modern city: François Barré (Paris), DESIGN / NEW DESIGN Saskia Sassen () and John CITIES Thackara (Amsterdam and RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Bangalore). l The historic charac- PRESS RELEASE teristics and major assets of design Montréal, September 22, 2005 – are used as an introduction for each The City of Montréal today city/territory. The texts by sympo- launched the book Nouvelles villes sium-attending experts (promoters de design/New Design Cities, which and design thinkers) enrich the is based on the proceedings of the cities’ portraits through the opinions symposium held in Montréal on of mayors, renowned or emerging October 6, 7 and 8, 2004, as part designers and some of the cities’ of the Dix-septièmes Entretiens du dedicated residents. l The book Centre Jacques Cartier. This event Nouvelles villes de design/New coincides with the introduction of Design Cities is a tool for reflection the city’s new design action plan. l as well as a source of inspiration for The book Nouvelles villes de design/ all the key players involved in urban New design Cities is a second step, development, including elected city after the symposium, in the imple- officials and municipal employees, mentation of a network of synergy urban planners, policy managers and awareness among emerging and managers of design promotion /12 cities of design, initiated by the programs, experts involved in cities of Montréal and Saint-Étienne. international marketing and travel The symposium has greatly influ- promotion, designers of all fields, enced the book’s editorial approach, teachers and researchers as well under the supervision of Marie-Josée as urban tourists and city dwellers. Lacroix, Design Commissioner for l This book, which was published the City of Montréal, as well as in Québec by Infopresse with the its lively graphic design, signed by collaboration of Éditions Pyramyd, Montréal-based orangetango in France, will be available in book- agency. l Anvers, Glasgow, Lisbon, stores throughout Europe and North Montréal, Saint-Étienne, Stockholm America. In Canada, the book will and New York’s Times Square are be sold for $39 with a reduced price at the heart of this 330-page, richly (subscription) of $29 until October 31. illustrated, bilingual book. The book, l Nouvelles villes de design/New just as the symposium from which Design Cities is a publication of it stems, involves case studies; Commerce Design Montréal, an i.e. actions or events that are at initiative of the City of Montréal in the foundation of the emergence association with the Government of these seven cities as cities of of Québec and the Ville de Saint- design. These concrete examples Étienne, in partnership with its are supported by reflections by École régionale des Beaux-Arts. three imminent thinkers of the RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR MONTRÉAL IN GENERAL l “WHAT IS MONTRÉAL?” ON WINNING OFFICE IN NOVEMBER 2001, MONTRÉAL’S NEW MAYOR, GÉRALD TREMBLAY, INVITED THE MUNICIPAL PUBLIC SERVICE AND REPRESENTATIVES OF CIVIL SOCIETY TO THE MONTRÉAL SUMMIT (2002) TO SETTLE MONTRÉAL, ON A COMMON VISION FOR THE CITY’S FUTURE. /14 l THE SUMMIT SURFACED FIVE STRATEGIC DIRECTIONS, VERITABLE ACTION AND PLANNING GUIDES, TO SERVE AS METROPOLIS REFERENCE POINTS FOR EACH OF THE PARTNERS COMMIT- TED TO IMPLEMENTING THE FINDINGS OF THIS MAJOR EVENT.

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01 City of Montréal 01

RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR STRATEGIC DIRECTION 1 — MONTRÉAL, A CITY OF CREATION AND INNOVATION, OPEN TO THE WORLD Creation, innovation and openness, this is Montréal’s economic engine, which has also become the symbol of the City. Montréal occupies a natural place at the heart of Québec’s development. It is an economic driver and creates wealth for Québec’s entire economy. This is the vision chosen at the Montréal Summit, a vision where culture, research, technology, economics and knowledge are intimately related and mutually enriched, making Montréal one of the world’s most desirable and most attractive cities. THIS DEVELOPMENT DIRECTION ENCOMPASSES CULTURE, KNOWL- EDGE, INNOVATION, ECONOMIC DEVELOPMENT, STRATEGIC TRANS- PORTATION INFRASTRUCTURES, OPENNESS TO THE WORLD AND THE STRENGTHENING OF ECONOMIC SECTORS. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR

01 City of Montréal RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR STRATEGIC DIRECTION 2 — MONTRÉAL, A CITY OF SUSTAINABLE DEVELOPMENT RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Sustainable development is a key element in the quality of life of Montréal’s STRATEGIC DIRECTION 4 — MONTRÉAL, A DEMOCRATIC, inhabitants and an undeniable positioning asset. Sustainable development FAIR AND TRANSPARENT CITY assumes effective as well as socially and ecologically equitable economic Montréal wants to be known for how it puts democracy, representation and development driven by a new form of governance that urges all members participation into practice. Vast and populous, formed of strong, deeply of civil society to make a choice to get involved in the decision-making rooted communities, the City is structured to support local vitality and process. l Affirming that an accountable, responsible city must combine meet its citizens’ specific needs. This participation is based on a practice development and progress with respect for the environment and resources, of information, consultation and participatory democracy. l The projects Montréal Summit participants attached major importance to the milestones grouped under this strategic direction rest on the values of democracy and to be proposed so Montréal could develop policies and apply measures that transparency. The established directions aim at creating a dynamic and would reflect this vision today and lay the groundwork for moving forward practices that strengthen the ties between the City and its citizens. into tomorrow. THIS DEVELOPMENT DIRECTION COVERS CITIZEN REPRESENTATION, THIS DEVELOPMENT DIRECTION INCLUDES INTEGRATED MANAGE- CONSULTATION AND PARTICIPATION (DEMOCRACY) MECHANISMS MENT OF THE ENVIRONMENT, THE INTEGRATED VISION OF SUSTAIN- AND SUPPORT FOR COMMUNITY LIVING. ABLE URBAN DEVELOPMENT (URBAN PLANNING PROGRAM AND RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR OTHER PROJECTS), THE PROTECTION AND IMPROVEMENT OF NATU- STRATEGIC DIRECTION 5 — MONTRÉAL, AN EFFECTIVE RAL HERITAGE, AND THE DEVELOPMENT OF A FIRST-RATE URBAN ADMINISTRATION SERVING ITS CITIZENS /16 PLANNING APPROACH. The City of Montréal serves its citizens and businesses. Performance is a RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR core driver of the project to make Montréal a major North American metrop- STRATEGIC DIRECTION 3 — MONTRÉAL, AN OUTSTANDING PLACE olis. Summit participants stressed that, given the situation of declining TO LIVE, A BEACON OF SOLIDARITY AND INCLUSIVENESS resources, the City must develop new ways to fulfill its responsibilities by Cities ranked among the best in the world are cities where jobs abound but leveraging best practices in efficiency building. They must attach importance also, and perhaps more importantly, cities where it feels good to live and to the contribution of City employees and motivate them commensurate where quality of life is outstanding for all residents. l What sets the City of with their skills. l Establishing the “Connected City” will enable thousands Montréal apart is the cultural and ethnic wealth of its community. However, of citizens to communicate faster and more effectively with their represen- too many citizens and groups are beset by problems of poverty and social tatives. However, maintaining and improving the City’s performance also integration, so the established directions prescribe specific actions for raises the crucial issue of recurring funding for municipal operations. Since improving quality of life and solving these problems based on the values of the Summit, the City has been committed to maintaining it while seeking a openness, solidarity and respect. sustainable, all-encompassing solution. THIS DEVELOPMENT DIRECTION INCLUDES PROJECTS RELATED THIS STRATEGIC DEVELOPMENT DIRECTION ADDRESSES RESPONSI- TO THE URBAN ENVIRONMENT, SPORTS AND RECREATION, THE BLE MANAGEMENT BASED ON A PARTNERSHIP WITH EMPLOYEES AND IMPROVEMENT AND DEVELOPMENT OF HOUSING, THE STRUGGLE THE FINANCIAL FRAMEWORK TO BE TAILORED TO THE CITY’S NEEDS. AGAINST POVERTY, AS WELL AS FAIRNESS, ACCESSIBILITY AND RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR DIVERSITY. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRR Its population comprises the descendants of First Nations cultures, a majority of French- speaking guardians of Québec creativity, a historical English- speaking community connected to the vitality of North America, and many communities that RRR Citizens of all ages are involved bring cultural baggage from in a wide variety of amateur over a hundred countries artistic activities. around the world. RRR An alert, curious public is RRR Its extensive, rich and diverse always open to new ideas. heritage reflects the history of a RRR Cultural circles have been City that never stops changing, organized to showcase on all inspires contemporary produc- fronts the crucial role culture MONTRÉAL, A CULTURAL tion and provides leverage for plays in the life of citizens and METROPOLIS cultural, social and economic communities. THE FIRST STRATEGIC DIRECTION, A CITY OF CREATION development. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR AND INNOVATION, OPEN TO THE WORLD, LED TO THE RRR Its creators, artists and cultural Montréal is definitely more than /17 CULTURAL DEVELOPMENT POLICY ADOPTED ON AUGUST 29, entrepreneurs are making their simply a cultural city—it is a cultural 2005. IT IS ORGANIZED AROUND THE OBVIOUS CULTURAL mark here and elsewhere. metropolis. l With its Cultural Devel- STRENGTHS OF MONTRÉAL SOCIETY: RRR Its creators, open to other disci- opment Policy, Montréal affirms that plines, transcend linguistic and culture is a key driver of its develop- gender barriers and are forced ment, economic vitality and future to constantly reinvent because prosperity. Accessibility, support for of the small local market and the arts and culture, and the impact increase creative exchanges. of culture on Montréalers’ lifestyle RRR A major centre of education, are the three main issues underpin- creation, production, promotion ning the content of this Policy. and preservation has been RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR established in various artistic and cultural areas. RRR A diversified cultural offering includes major events and a wide range of institutions and equipment. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Consequently, if cultural development strategies and their related activities are to produce the expected results, citizens must see culture as an attrac- tive, valuable asset. Since culture must be present, expressed, recognized and valued throughout Montréalers’ physical environment, this value can only be realized by improving the cultural quality of the citizens’ living envi- ronment. l Urban planning and development are key tools in enriching culture. Only by supporting the quality of the city’s architecture and urban design, and protecting and enhancing its heritage, will the City and real estate promoters be able to give citizens an environment that is at once harmonious and stimulating. l Therefore, the City has set itself the goal of MONTRÉAL, A NEW CITY integrating, not only into its planning program and policies but also into all OF DESIGN of its daily operations, a constant concern for harmony, the pursuit of qual- A KEY ISSUE COVERED IN THE CULTURAL DEVELOPMENT ity and the enrichment of art, culture and heritage. This integration will be POLICY, THAT CONCERNING THE “IMPACT OF CULTURE facilitated by involving designers and artists as soon as projects reach the /18 ON MONTRÉALERS’ LIFESTYLE”, REFERS DIRECTLY TO planning stages. EVERYDAY CULTURE. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR AS A RESULT, THE FOLLOWING COMMITMENT HAS BEEN MADE: THE CITY WILL INTEGRATE MORE DESIGN INTO ITS PRACTICES— WHETHER THAT INVOLVES PLANNING PUBLIC SPACES AND NEW BUILDINGS AND STREET REPAIRS OR STREET FIXTURES—WHILE CONTINUING TO PROMOTE DESIGN AMONG ITS CITIZENS AND ITS INSTITUTIONAL OR PRIVATE PARTNERS, AND ITS EFFORTS TO POSI- TION MONTRÉAL AS AN INTERNATIONAL DESIGN CITY. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Source : Sommet de Montréal 2002 Montréal, métropole culturelle politique de développement culturel de la Ville de Montréal 2005–2015 réussir@montréal, Stratégie de développement économique 2005–2010 de la Ville de Montréal Imagining – Building Montréal 2025 RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR MONTRÉAL, A CULTURAL METROPOLIS SUMMIT (2007) RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR CULTURE MONTRÉAL The community is invited to a new WWW.CULTUREMONTREAL.CA Summit in 2007. It will be an oppor- RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR tunity not only to assess the results An intimate part of Montréal life for MONTRÉAL of activities stemming from the l “Having said that, let me make close to 10 years but only recog- SUMMIT (2002) action items identified in 2002 of one thing clear: I consider culture as nized officially in 2002, Culture RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR course, but also to prepare an a major strength of today’s Montréal Montréal is an independent, non- Held on June 4, 5 and 6, 2002, action plan related to the Cultural and especially the Montréal of the profit organization that brings the event brought together over Development Policy and especially future. I sincerely believe that, if together all citizens interested in 3,000 people from businesses, to identify investments that will be we all work together to get this promoting culture as a key vector mutual interest groups and the needed to implement it. message out loudly and clearly, it of Montréal’s growth. A place for municipal government to work RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR will be a lot easier to convince other thinking, talking and acting, the together to prioritize activities. The “We have two things to do to pre- sectors, especially the business organization is actively involved in Montréal Summit is part of a joint pare for this important Summit. The sectors, to get involved—and defining and raising awareness of effort to position Montréal as a first is to identify the projects to be I should also add invest!—in this Montréal culture through research, leader in North America. The conducted, which will be discussed most auspicious undertaking for analysis and communication activi- /19 Montréal Summit demonstrates a or announced or have their progress Montréal. Because investing in cul- ties. As a chosen mouthpiece, willingness to share power between measured or even initiated at the ture is not patronage; it’s investing Culture Montréal plays a major role municipal government, citizens and Summit. To my mind, these projects in the future of our city!” in positioning the City as a cultural civil society. A democratic exercise must address the issues of accessi- Extract from a speech by Mr. BENOIT LABONTÉ, metropolis by showcasing its cre- unique in Canada, the Montréal bility to art and culture, support for Mayor of the Borough of Ville-Marie and member of ativity, cultural diversity and open- Summit implemented an unprece- creators and artists and the cultural the City of Montréal Executive Committee, responsible ness to both the rest of the nation dented collaboration, a collabora- quality of the living environment. l for Culture, Design and Heritage, during a talk to and the world. It was especially tion that has continued every day “The second job consists in mobiliz- the Culture Montréal annual general assembly on instrumental in developing the City’s since 2002. ing all sectors of civil society, and all March 17, 2006. first cultural policy, creating a major RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR levels of government, to convince RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR international network with other the greatest number of people that cultural cities (like New York), and Montréal, A Cultural Metropolis, is a organizing large international sym- fundamental necessity. We have to posia to stimulate lively discussions do this because, the way I see it, too between citizens and creators from few citizens, organizations and busi- both here and abroad. nesses still fail to understand the RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR vital importance of culture for Montréal’s future. Much more effort is needed to educate them! RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR LAND 500 km2 for the greater metropolitan area and 366 km2 for the City. Montréal had 19 boroughs as of January 1, 2006. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR SPECIFICS The Montréal area, with its 3.5 inhabitants, is approximately one and half hours by plane from New York City or Washington, DC. Bounded on one side by and the other by the St. Lawrence River, this strategi- cally placed island has opened its arms to immigrants for four centuries. l Montréal is the only completely bilingual city in North America in a country where bilingualism is guaranteed by national institutions that work in MONTRÉAL: French and English to serve a multicultural, multiethnic society. Besides the two founding cultural communities, 150 other communities account for 34% of its population. l Elegant and traditional, dynamic and modern, at /20 AN 01 the crossroads of Europe and America, the City is built on a human scale and is well known for its lively downtown core. l Montréal provides a rare quality of life comparable to that of major urban centres anywhere in the OVERVIEW world. Its moderate cost of living gives it an advantageous position over European or American cities. l Montréalers express their joie de vivre through a series of festivals: jazz, dance, film and theatre, not to mention its many restaurants, clubs, theatres, museums, contemporary dance companies, concert halls and world-renowned orchestras. l A network of tunnels over 30 kilometres long connected to the subway system gives residents access to downtown office buildings, entertainment complexes or residential towers without ever having to venture outside. l Its many parks provide an oasis of calm, the most famous and largest of which is Mount Royal, laid out by Frederick Law Olmsted. Covering 500 acres, it is an ideal spot for taking a stroll or enjoying outdoor activities in general.

01 Expo ‘67 RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR AN ECONOMY IN TRANSITION Montréal’s economic structure evolved in the period between 1981 and 2001. The service sectors boomed and took front and center in terms of activity. The manufacturing sector was completely transformed by the RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR upsurge in high-tech firms, and more traditional sectors left downtown HISTORY Montréal. l Montréal’s economy is rapidly moving forward and ended In May 1642, a group of very religious French men and women founded 2005 on a positive note. Though some sectors are experiencing a down- Montréal on the shore of the St. Lawrence River, on a point of land that is turn, key economic indicators are, for the most part, pointing in the right now part of Old Montréal. Conquered in 1760 by England, it became the direction. l The labour market has returned excellent results: job creation, melting pot of two European cultures, adding to the cross-cultural mix the activity ratio and the employment rate have made gains and, despite a which had already begun with First Nations people. At the end of the 19th slight rise in the unemployment rate, the number of welfare recipients is century, Montréal was Canada’s unchallenged metropolis. Construction of falling. l Job losses observed since 2000 in the manufacturing sector the transcontinental railway, large maritime firms that traded with Europe were compensated for by substantial gains in construction, information, and Asia, and some major banks and corporations (fur, tobacco, flour, culture and recreation and services. l Montréal’s vitality and creativity are /21 sugar, iron, etc.) made its fortune. World War II was a time of major industri- much in evidence because the City of Montréal ranks number one in al growth: aeronautics, optics, biochemistry, etc., but the post-war decline Canada for number of patents granted. The number of invention patents of traditional industries would force many corporate head offices and a has more than doubled on the Island of Montréal in the past six years. l large part of financial activity to flee to Toronto, which had become Montréal is Canada’s leading source of grants to university research. The Canada’s leading city. Recovery at the end of the 20th century was driven latest data show that universities had $967 million in subsidized, spon- by not only emerging information and communication technologies, adver- sored research for 2003-2004. Grants more than doubled between 1997 tising agencies and the film industry, which spelled the return of good and 2004. l The tourist industry has reported results topping those of 2004 times for modern Montréal, but also a very active recreation and tourist despite a strong Canadian dollar. Montréal welcomed 7.5 million tourists in sector, augmented particularly by international festivals and fine dining. 2005, that is, 1.9% more than in 2004. l According to the Conference Board, optimism is the word for the 2007 to 2010 period, with an average annual economic growth of 2.9%. l The personal economic status of Montréalers should improve significantly in 2006. The expected growth in earnings of 4.8% in 2006 follows a 3.2% hike in 2005. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR In Québec, as elsewhere, design is a buoyant development sector, and Montréal is where the economic benefits of this sector of the culture are being felt more. Indeed, Montréal is both a city where design and designers represent a dynamic force in cultural and economic life and a city that increasingly knows how to place this creative power at the service of its quality of life. l According to the latest statistical data, the economic impact of design in Québec is $1.18 billion and represents 31,173 jobs. Design thus has the greatest share of the cultural sector with an impact rep- resenting 34% of the overall economic impact. l Of design workers, 65.3% live in the Greater Montréal area, which represents 20,356 jobs and eco- nomic benefits of over $750 million. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR MONTRÉAL ECONOMIC IMPACT OF CULTURAL SECTOR IN QUÉBEC $3.8 BILLION AND 82,870 JOBS RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR DESIGN Design $1.18 billion 31,173 jobs 34.0% Film $669 million 13,651 jobs /22 Books $757 million 12,640 jobs IN NUMBERS Art education $330 million 7,697 jobs l DESIGN: A KEY DRIVER OF CULTURAL AND ECONOMIC LIFE Heritage $273 million 5,948 jobs IN MONTRÉAL l “THE DESIGN ECONOMY HAS EMERGED AS Sound recording $188 million 3,185 jobs THE SUCCESSOR TO THE INFORMATION ECONOMY, WHICH IN Interpretative arts $133 million 3,997 jobs TURN SUCCEEDED THE MANUFACTURING AND SERVICE Public administration $92 million 1,930 jobs ECONOMIES.” ROGER MARTIN, Rotman School of Management, Cultural events $82 million 1,712 jobs Visual arts and crafts $46 million 939 jobs RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Source: Economic Impact of Culture and Communications Sector, MCC, September 2001 (1997–1998 data) RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Note: Many other economic or statistical data on various aspects of the design sector in Montréal have been included in texts in the sections that follow. For additional information see also: Designers (page 58); Professional Associations (page 70), Conseil de métiers d'art du Québec (page 73) and Montréal Fashion Week (page 92). FROM MONTRÉAL YESTERDAY /45 DESIGN TO TODAY 01

RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Graphic design was certainly the area that grew the fastest at the time. People such as Raoul Bonin, Charles Feinmel, Allan Harrison or Henry Eveleigh would succeed others such as Rolf Harder, Ernst Roch, Fritz Gottschalk and Vittorio Fiorucci. Major up-and-coming pharmaceuticals firms and the paper industry were to be the main clients who saw the light, along with large cultural organizations. l Industrial design did not lag far behind. Household or office objects designed by a Henry Finkel, adhering tightly to the tenets of good US design, and the productions of a Julien Hébert or Jacques Guillon, whose Contour lawn chair and Nylon chair respectively were presented at the 1954 Milan Triennial, were to become icons of modern Québec design, marking a major renewal. l But architec- ture and urban development were the areas where Montréal activity truly intensified. In the footsteps of modernizers like Ernest Barott and Marcel THE Parizeau, Raymond Affleck and his associates Desbarats, Dimakopoulos and Lebensold conducted many major projects that were to change the face of downtown, particularly that of the complex in the EMERGENCE 1960s. But the most notable achievement, which was to become a key ele- ment in Montréal’s modern image, was unquestionably the construction at the end of the 1950s of Place Ville-Marie, the work of the great architect OF MODERNITY Ieoh Ming Pei. That era also marked the beginnings of Montréal’s under- /24 ground city, when the urban planner Vincent Ponte, a member of New York promoter William Zeckendorf’s team, became one of the project’s key play- IN MONTRÉAL ers. One of the gurus of modern architecture, , MODERNITY IN THE AREAS OF ARCHITECTURE, GRAPHIC signed his name to in 1964, while in the same year the DESIGN, INDUSTRIAL DESIGN AND FASHION ONLY REALLY Italians Luigi Moretti and Pier Luigi Nervi produced the , EMERGED AFTER WORLD WAR II. l SUCH WAS THE CASE the highest concrete structure on the planet at the time. l The subway, FOR MONTRÉALERS, SOME OF WHOM WENT TO EUROPE OR inaugurated on October 14, 1966, was the outcome of an incredible collab- THE US TO IMPROVE THEIR KNOWLEDGE AND EDUCATION, oration among engineers, architects and artists, with every station being AND IMMIGRANTS, MAINLY EUROPEANS. assigned to a different team. This was a groundbreaking experiment, along with Stockholm, in the integration of public art. The firm of Guillon Design was responsible for designing the subway cars. l The modern movement was also to produce major social housing developments, starting in 1946 with Harold J. Doran’s Benny’s Farm project and then with those of Habitations Jeanne-Mance by Greenspoon, Freedlander, Dunne and Jacques Morin, and Ilôts Saint-Martin from Ouellet, Reeves, Alain. This project was also known for the first experiments in preserving and renovat- ing 19th century workers’ residences. l Finally, Montréal became Canada’s fashion hub thanks to the work of leading designers such as Raoul-Jean Fouré, Jacques de Montjoye, Marie-France of Paris and France Davies, and then Michel Robichaud.

01 Philippe Poullaouec-Gonidec RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR CONSOLIDATING AND PROFESSIONALIZING DESIGN The 1970s and 1980s were decades when special courses in design were added to curricula in the network of public colleges and Montréal’s four major universities. l Consequently, Université de Montréal, which housed the Institut d’urbanisme founded in 1961 and added the École d’architec- ture in 1968, created an Industrial Design section in 1973. McGill University launched an urban planning program in 1972 and then set up the School of Urban Planning in 1976. l As regards Université du Québec à Montréal, it created graphic design and environmental design (architecture, industrial design and urban design) programs in 1974. followed by a program in urban studies in 1976. l They were to become a crucible of knowledge for RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR thousands of designers who quickly branched out into both government and private businesses actively involved in all areas of design. l The 1976 A DESIGN EXPLOSION Olympics would provide many of them with a new opportunity to expand Expo 67 was to be an incredible laboratory of design and an unparalleled their talents in everyone’s eyes. Among them was the young designer showcase for all participating creators and their accomplishments. l Michel Dallaire, who made his name by creating the Olympic torch, while Concurrently with the work of foreign architects involved in designing pavil- talented creators like Ernst Roch, Yvon Laroche, Pierre-Yves Pelletier and ions for the various participating countries, the most celebrated of which Guy Saint-Arnaud designed the series of posters that blanketed the globe. was undoubtedly the American, Richard Buckminster Fuller, the federal l At the same time, large cultural institutions, such as the Musée des Arts government engaged the designers Julien Hébert and Jacques Guillon to décoratifs, Musée des Beaux-Arts de Montréal or Bibliothèque nationale, create the street fixtures and part of the interior design for , an created design collections, while sites dedicated entirely to publicizing immense experimental residential project that arose from the drawing design saw the light of day. l In 1979, the architect Phyllis Lambert found- /25 board of architect Moshe Safdie, an Israeli student and recent McGill ed the Canadian Centre for Architecture (CCA), one of the world’s most University graduate. Architects Papineau, Gérin-Lajoie, LeBlanc designed prestigious conservation, research and exhibition institutions. l In 1981, the Québec Pavilion. l The posters and other graphic creations designed UQAM’s Centre de design, started by a group of professors in its School of by Studio Guy Lalumière also came to international attention through the Design, opened its doors. It was to become one of the premier extension photographs of these productions. l Finally, the hostess uniforms were sites for design in Canada. l Via Design, a commercial exhibition that the work of the young dress designer Michel Robichaud, who had already included fashion, was launched in 1983. Ginette Gadoury then opened exhibited his talents for Air Canada. l All this earned Montréal internation- Centre Infodesign in 1986, followed by a collaboration with the Société des al celebrity as one of the era’s top design centres, which went a long way décorateurs-ensembliers du Québec to create the Salon international du towards attracting much more talent. design d’intérieur de Montréal (SIDIM) in 1989. l The Picard Report, pub- lished in 1986, confirmed design as one of the seven priority strategic directions of Montréal’s economic development and convinced both the Canadian and Québec governments, and the City of Montréal, to take action to turn Montréal into a world-class design centre. Also in the 1970s and 1980s, heritage protection and renewal programs, which had been experimented with earlier, were implemented on a broad scale. They affect- ed not only prestigious buildings and historical complexes such as Old Montréal, but also residential neighbourhoods such as Milton Park, and even typical Montréal working class sectors, such as Plateau Mont-Royal, not to mention industrial lands. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Source: Marc H. Choko, full professor at École de design, director of Centre de design at Université du Québec à Montréal RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Though Québec passed a heritage protection act in 1922, “heritage aware- ness” would only become a way of life in the mid-1960s at the same time Montréal was implementing a limited urban redevelopment program in response to the wild optimism of the time. For example, professionals in the city’s Urban Planning Department expected in 1965 that the population of the metropolitan area would double to nearly 5,000,000 by the early 1980s. The 2001 census showed the population at 3,500,000! l When the Québec government announced the historic district of Old Montréal in 1964, this site of the first European settlers—notable for the layout of streets dating back to the French Regime, its concentration of heritage buildings from the 17th, 18th and especially 20th centuries—was practically escheated. Because of that and partly in reaction to the “brutalism” of post-war moder- OLD nity, it was to become one of the greatest vectors of awareness-raising for the City of Montréal and one of the largest areas of experimental design /26 related to the living environment. MONTRÉAL RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR A UNIQUE DIALOGUE Massive investments over the past 30 years—among others from public BETWEEN DESIGN AND HERITAGE authorities—in the revitalization of Old Montréal actually helped shape a very specific approach to interventions related to heritage and, subse- quently, the city in general. Starting with the Québec government’s earliest financial involvement, the relevance and even nature of the intervention, in terms of both urban planning and architecture, became a major issue. Was everything to be rebuilt exactly as it was, as in Old Québec? Was one his- torical layer to be chosen at the expense of the others, and based on what criteria? Or was it necessary to build on the multiplicity of expressions spe- cific to each period, respect the existing building and historical markings, while clearly proclaiming the legitimacy of the modern movement?

01 01 Philippe Poullaouec-Gonidec This commitment had repercussions not only on architectural integration but also on the redevelopment of public spaces. A still modern design based on an updated reading of the memory of places in connection with the archaeology, history and original typology produced user-friendly pub- lic spaces that both identified and were functional and perfectly compatible with the spirit of the historic district. The Champ-de-Mars esplanade with fortified foundations (1717–1738) surrounded by modern greenery, Place Jacques-Cartier with its formal simplicity and good use of materials, Place de la Dauversière and its mineral and plant mix, the garden of Château “OLD MONTRÉAL, IN CONTRAST TO OLD QUÉBEC, IS NOT A UNI- Ramezay with its interpretation of a vegetable garden at the time of the FORM WHOLE. IT IS HOME TO DISPARATE ARCHITECTURES, STYLES French Regime, Square Dalhousie and its rails illustrating the industrial era AND FUNCTIONS, RELATED DIRECTLY TO ITS PAST AS A CITY CEN- of the great railroads, Place D’Youville and its network of sidewalks and TRE, WHICH IS WHY IT IS DIFFICULT TO DEFINE THE “MONTRÉAL paths, or Square des Frères Charron, under development, with its inter- STYLE” TO BE FOLLOWED. ESPECIALLY BECAUSE OLD MONTRÉAL pretation of the natural ties between Old Montréal and Faubourg des WAS A BATTLEFIELD AT THE TIME OF THE FIRST INTERVENTIONS! Récollets, all illustrate the major role memory has played in their creation. VACANT LOTS ABOUNDED AND, CONSEQUENTLY, SO DID BUILDING l One of the most famous examples of this design approach qualified as OPPORTUNITIES. THIS POSED NOT ONLY AN ARCHAEOLOGICAL “contextual” is Dan S. Hanganu’s Pointe-à-Callière museum. It is notewor- /27 PROBLEM, BUT ESPECIALLY ONE OF ARCHITECTURAL INTEGRA- thy because it accommodates all heritage issues in both its design and its TION. BUT, BECAUSE OF THIS UNINTERRUPTED SUCCESSION OF construction on pilings to preserve Montréal’s first Catholic cemetery, ERAS AND STYLES, SINCE WE TOO FELT WE HAD TO LEAVE THE reuse of the original building’s lines, volume and material, and use of a very MARK OF THE MODERN ERA, WE RESOLUTELY TOOK THE BET AND contemporary architectural vocabulary that follows the function of the inte- BOLDLY ASSERTED THE MODERN MOVEMENT!” rior rooms. This approach spread to all of Montréal’s heritage areas. MONIQUE BARRIAULT in 25 ans d’entente RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Beyond the investments, programs or policies, the success of Old Montréal’s rebirth is owed to the involvement of visionaries, many of whom were designers. Because these people lived there, defended it and invest- ed in it as a workplace, and imagined and redefined it starting in the 1970s, and because they continue to live there, defend it, imagine it and enjoy it, Old Montréal now reflects our uniquely Montréal identity and remains a source of inspiration. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Source: MARIO BRODEUR, Architect 01

CREATIVITY RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Some cities only want to be simple destinations, others are the stuff of dreams, and yet others are left behind in search of a better future. Montréal AS A cleverly combines this flow of life between the Old World and New, between North and South, from conquest to identity, from menacing nature to the cheerful lights of the modern city. This portal to a vast continent /28 SIGN OF exudes an air of excitement perfectly suited to the spirit of exploration, stimulating an insatiable appetite for discovery. Exploring the streets and houses of this city, with its architecture unique in North America, provides HOSPITALITY instant proof of the ingenuity of buildings that promise a comfortable place to stay or somewhere to just pass through.

01 Philippe Poullaouec-Gonidec RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR The architecture mirrors the excitement of this urban, hybrid world respect- ful of visitors, welcoming to immigrants. Here, common walls are not only a principle of urban planning, but also a way of life. Contemporary architecture bears out these characteristics. Recent buildings, designed by architects Dan Hanganu, Saia, Barbarese and Topouzanoff, Saucier and Perrotte, Éric Gauthier and Jacques Rousseau, to name but a few, have found in this local material an opportunity for an original, individual dialogue with shared RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR global rhythms. Montréal is the cultural centre of architecture in Canada. Montréal is not encumbered by nostalgia. The past has an active role to Indeed, architecture is taught in three universities here, and it is the only play here. It provides evidence of constant invention. A climate that fluctu- Canadian city with two accredited schools of architecture, two schools of ates from one extreme to the other has produced inside and outside design and a landscape architecture school. Its diverse architectural her- spaces where public life thrives freely but with great respect for privacy. itage is unique in North America. The Canadian Centre for Architecture is More than 350 years have shaped this city, decade after decade. Colonial recognized around the world for its remarkable collections and study cen- architecture mixes with Beaux-Arts buildings. Huddled blocks of Victorian tre that welcomes the best researchers. Half the architecture competitions homes make way here and there for apartment blocks. The seriousness of held in Canada since 1960 have taken place in Québec, and most of the win- pace-setting structures in the international style (Place Ville-Marie, Westmount ners have been Montréalers. The award-winning achievements of Canadian Square, , Habitat 67, etc.) coexists with the impulsiveness architects are exemplary, and the Canada Council of the Arts has already of humble commercial buildings adorned with multi-coloured signage. presented its Prix de Rome to seven young Montréal creators since it was RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR founded less than 20 years ago. /29 The street is the sociomatrix. Large shopping centres, downtown or in the RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR suburbs, are no less a prevailing factor in the pace of daily life. Streets like Contemporary design too has distanced itself from the ideal of tabula rasa. Mont-Royal, Saint-Laurent, Saint-Denis, De la Montagne and Sainte- The world in general is being redefined more by an ethic of places and Catherine bustle with life, boasting a cosmopolitan flair that denotes their objects than by geography of transportation and the quest for the right cross-cultural function. In the areas of dance, visual arts, theatre, literature, form. Creation can only be take root by recovering and recycling the architecture, music, media arts and design, cultural and artistic renewal fol- detached environments of the industrial revolution to make them both inti- lows with a formidable energy that of the new economy, which is totally mate and user-friendly. Like foundations that can withstand the trials (whims) reshaping the urban and social landscape of this great port city, Québec’s of the design project turned towards the world. Slow and fast mix together. metropolis and home to Canada’s francophone culture. Whether blanketed Then the horizon expands and creative energy is set free, without bias or in snow or baking in the summer sun, Montréal is unlike any other city in boundary. The largest number, the goal of mass production, is always and North America. everywhere different. Refusal to see society as one homogeneous whole, impertinence in the face of perceived notions, difference as value and the profuse capriciousness of intentions are, without a doubt the source of this new Montréal design. Among Montréal’s designers, Jean-Pierre Viau, Claude Mauffette, Jean-François Jacques and Jean-Claude Chabauty are perfect representatives of this diversity and originality that typify design in Montréal. With these designers, imagination lies just around the corner. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Source: GEORGES ADAMCZYK, Director of École d’architecture at Université de Montréal DESIGNERS RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR MONTRÉAL HAS OVER TABLE SHOWING BREAKDOWN OF DESIGN PROFESSIONALS 20,000 DESIGNERS WORKING IN QUÉBEC IN 2001 IN ALL AREAS OF DESIGN. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR FOLLOWING A BRIEF EXODUS Architects 3,235 OF CREATORS DURING THE Architecture technologists and technicians 1,875 1980S ECONOMIC CRISIS, Landscape architects 590 THIS PHENOMENON WAS Interior designers 2,665 REVERSED WITH AN Industrial designers 3,620 INCREASE OF CLOSE TO Graphic designers and illustrators 10,595 40% IN THE NUMBER OF Graphics technicians 3,940 /30 DESIGNERS OVER THE PAST Urban and land use planners 1,120 10 YEARS. Theatre designers, fashion stylists, exhibition designers RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR and other artistic designers 3,915 THE DESIGNERS, WHO ARE RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR DESCRIBED BRIEFLY BELOW, TOTAL 31,555 ILLUSTRATE SPECIFICALLY RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR MONTRÉAL PRACTICES. 65% of these workers reside in the Greater Montréal area. ANOTHER SELECTION APPEARS RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR FURTHER ON IN THE LIST OF Source: , 2001 census. THE CRÉATIVITÉ MONTRÉAL Compilation: Institut de la statistique du Québec (Observatoire de la culture et des communications du Québec) NEWSLETTER. CLAUDE CLAUDE MAUFFETTE CORMIER WWW.CLAUDEMAUFFETTE.COM WWW.CLAUDECORMIER.COM RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Claude Mauffette, ex-sculptor and With a degree in agronomy from the cabinetmaker, was trained in indus- University of Guelph, in landscape trial design at Michel Dallaire in architecture from the University of 1986 and 1987. He then opened his Toronto, and in design history from own office. In 1993, he received the Harvard University, Claude Cormier Montréal Designer of the Year is the author of landscapes where award handed out by the City of art and nature merge. He has run Montréal at the SIDIM conference. his own firm since 1996. Among his The practical/practice side of his achievements are public spaces for creations and their irreducible func- the cities of Toronto, Las Vegas, tionalism make him an adherent of Québec and Montréal. Claude minimalist design, with no conces- Cormier also designs green spaces sion to adornment or the superflu- for institutions like Université du ous. One can thus say that he is an Québec à Montréal, McGill adept of “less is more”. One of his University and the Canadian Centre most recognized works is hands- for Architecture Foundation. The down the celebrated Pant Saver facilities he develops for contempo- mat. His work is at times that of an rary gardens probably represent inventor, or even a “handyman” in some of his most surprising work. In the purest sense of the word. His 2004, he participated in the inaugu- 01 objects have a seductive power that ration of the Festival of Gardens makes one want to possess them at and Art in Sonoma Valley, California, 02 any cost. He is, for example, the and in the Biennale des jardins de author of Hyper Walk, a small object Lyon in France in 2003. In 2000, he that wedges between roller blade designed the Blue Stick Garden for wheels so the user can walk safely. the Reford Gardens International He also has to his credit several Garden Festival in Québec,. This Trudeau brand corkscrews, includ- installation was reproduced at ing a completely automatic model Toronto’s Canada Blooms and that lets you insert the twisted end Hestercombe Gardens in Taunton, in the cork, pull it out and eject it all England. The work of Claude in one movement of the handle. Cormier and his team has been RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR awarded many times. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR

01 Claude Maufette 02 Jean-François Vézina ORANGETANGO WWW.ORANGETANGO.COM RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR PHILIPPE The orangetango agency is LUPIEN basically managed like a creative WWW.SCHEME.QC.CA workshop, though its managers RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR do have “somewhat of a business Philippe Lupien is an urban designer, sense”. l Both a poster designer a professor at Université du Québec and advertiser, the agency founded à Montréal, and host of a TV show in 1996 by Mario Mercier, who is its on architecture (Visite Libre). Being creative director, has built its repu- at once a designer, teacher and tation and earned over a hundred popularizer of architecture and national and international awards design in the media, he is highly and endorsements by exploring representative of the new genera- new, bold directions, anchored in tion of designers who are engaged the intent and passion of its cre- in a hybrid practice of their profes- ations. l Orangetango participates sion. A forerunner in many areas, /32 in projects where graphic design Philippe Lupien is responsible for becomes multisciplinary, such as alerting the public to and generally for the Quartier des spectacles or raising their awareness of the need the Sense of the City exhibition at to move towards a more responsi- the Canadian Centre for Architec- ble architecture and design. By ture, for which the agency signed helping create and build exemplary both the design and installation. l buildings like the TOHU (Cité des 01 Its most notable latest achievements Arts et du Cirque), and at the same were the Louve at the Festival of time playfully sharing his knowl- New Cinema, the campaigns edge, this Montréal creator and for Théâtre de Quat’sous and intellectual has opened the door the books of Josée Di Stasio and to a more environmental and more New Design Cities for the City human form of Montréal design. of Montréal. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR

01 Claude Pinet JEAN-PIERRE VIAU WWW.JPVDESIGN.COM RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR SAUCIER+ He is surprised himself, and with no PERROTTE false modesty, at having done so WWW.SAUCIERPERROTTE.COM many restaurants in the same city. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR In a hyper-competitive business of Architects Gilles Saucier and André colleagues and false colleagues, Perrotte belong to those Montréal they choose him. Montréal has designers who have made a brilliant always been his city—he was born success of their careers both in here. In his neighbourhood of Mile-

Canada and abroad. They owe this End, he has rubbed shoulders with 02 international recognition to the all of the city’s cultures and colours universality of their language, an since his childhood. Orthodox architecture that is at once foreign, Jews, Greeks and Portuguese still expressive and contrasted, that cross each other’s paths there. l echoes the extreme conditions The approximately 15 of his proj- covering our land. But they also ects awarded by Commerce Design owe their renown to their notable Montréal include spaces that have presence at the Venice Biennial in truly left their mark on the city and 2004 (over 100,000 visitors came its inhabitants. Delightful spots very to see these Canadian representa- often associated with friendly get- tives of architecture). They have togethers, family outings or roman- received over 30 awards for their tic trysts. Places that make us love work, which includes the highly Montréal. The amazing success of coveted Governor General’s Medal, some of these projects is due not given to the First Nations Garden only to the design, but also to this 01 Pavilion in Montréal. This building, particular alchemy between the which undulates like a wisp of concept of business and its space, smoke through the trees, conveys a between container and contents, all message of both peace and under- fitting perfectly with his time. l standing in the form of an enigmatic Pizzédélic was one of these notable and poetic overhead path… adventures. A small project that RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR grew beyond anyone’s expecta- tions. For the first time in Montréal, design had entered the world of the “democratic” restaurant business. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR

01 Michel Tremblay 02 Marc Cramer HEXAGRAM WWW.HEXAGRAM.ORG MARIOUCHE RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR WWW.HARRICANA.QC.CA Hexagram is an independent, non- RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR profit institute that acts as a catalyst Mariouche Gagné perfectly embod- and promotes world-class research ies the Québec creative movement, and creation in a university setting,

01 which flows counter to everything and which acts as a bridge between and which manages to assert itself industry and media arts. Formed through its daring and the beauty of in 2001, Hexagram is the first and its achievements. Who would have largest institute of its kind in Canada. thought that recycling politically Its position between universities incorrect materials like fur would and the private sector gives it a become all the rage? Nobody, strategic role as a bridge between except Mariouche Gagné, who content developed in universities decided to use bits of this taboo and the industrial sector. The insti- /34 material to fashion veritable works tute helps take research out of the of fashion art. Recycled fur, wool lab, through exhibitions, publications and silk, the designer never and conferences, by encouraging stopped at just fur. She uses her tal- the sharing of knowledge and ents to transform various textiles technology and fuelling the debate and plastics into custom creations, to develop and maintain global circus costumes, accessories and leadership in the field. More other unique pieces she sells every- than 75 artists/researchers and 02 where across North America and 350 graduate students at Concordia Europe. And that’s how the style of University and Université du Québec the future, based on durable materi- à Montréal are now working togeth- als, was born. er to make Montréal a showcase of RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR academic excellence in media arts and technology. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR

01 Harricana 02 Hexagram DAN S. HANGANU His many achievements include the WWW.HANGANU.COM Olympic torch and furniture for the RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Olympic Village, in collaboration Taking stock of the work of with André Jarry, for the 1976 Dan S. Hanganu means entering Montréal Olympics. In the 1980s, a world where logic, humour and he developed the SportRack, first subtlety blend into a consistent 02 designed for Pinso and then for Bic; whole. The architect, who prefers furniture in the Linéa collection for the rational and ethical to spurious and history, the Chaussegros-de- MICHEL Meubles Drouin; Picolo lamps for ornamentation, has developed a Léry complex, the Théâtre du DALLAIRE Sverige; and the CCM exerciser true intuitive sense of the potential Nouveau Monde, to the church at WWW.DALLAIREDESIGN.COM and Snofox sled. In the 1990s, he of materials, which he imbues with the Saint-Benoît-du-Lac monastery. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR created the SportRack II for Pinso; poetic symbolism. Hanganu designs l An architect and humanist, Dan Michel Dallaire first trained with the Nouvelle Vague pool; bottles for buildings characterized by the S. Hanganu did not take the high Julien Hébert, at the Institut Lavo; seats in the IBM amphitheatre extent of their volume, their layout road. His is an architectural design des arts appliqués de Montréal, at École des Hautes Études Com- and the materials he prefers to use. in which the creator’s touch is felt between 1959 and 1963. The fol- merciales; furniture for workshops These are works in the image of their everywhere: in the structure, the lowing year, he studied design at in Université de Montréal’s Faculté author—human and with significant choice of materials, the fit of the Konstfackskolan, Stockholm’s d’aménagement; and the Angelcare effect. l Dan S. Hanganu graduated building in its environment, the college of industrial arts, choosing sound and motion detector and in architecture from the University of furniture—in short, it involves total furniture and metalwork as special- Audisee systems. He completed the Bucharest in 1961 and gained his design. This practice is not unani- /35 ties. On returning to Montréal in plan for Avenue Dufferin in Québec initial experience in his country of mously accepted, and achieving 1965, he worked on the teams of City; street furniture for the Quartier origin. He arrived in Canada in 1970 this ideal means having absolute Julien Hébert and Jacques Guillon. international in Montréal; furniture in and worked until 1979 as a director control over construction tech- Among other projects, he helped the reading rooms of Grande of design in various offices in niques, the warrior’s energy, the plan the Canadian pavilion for Expo Bibliothèque, and seats and acces- Montréal and Toronto. He then creator’s fertile imagination and the 67 and design furniture for Habitat sories for Air Canada’s Business opened his own workshop and strength to handle periods of doubt. 67. He then joined Gilles Bossé and Class service. l Michel Dallaire has really began his career as an archi- Dan S. Hanganu’s achievements, Jacques Coutu, who had also stud- received many awards, including tect. His first jobs involved one of whether in Canada, Switzerland, ied in Sweden, finally opening his the Design Canada prize in 1982 the most demanding challenges in Morocco or the ex-USSR, are elo- own office in 1974. l for the SportRack; the Design his discipline, housing. “The basis quent proof that this ideal is well Québec prize in 1984 for the Linéa of architecture is the dwelling. The within his reach. l Mr. Hanganu collection and the Gosh boat chair house is in some way the cradle of received the Government of in 1985; and the Canada Award architecture, its primary function.” Québec’s Paul-Émile-Borduas prize of Excellence in 1986 for Résentel l Dan S. Hanganu’s work is in 1992. brake levers. His entire body of extremely diversified, ranging from RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR work was recognized by the Paul- the frontage on , Source: YOLANDE CÔTÉ and CLAUDE JANELLE MCCQ Émile-Borduas prize, which he through the Val-de-l'Anse building 01 received in 1991, and the Sam- on Nuns’ Island, Pointe-à-Callière, Lapointe prize given to him in 2003. Montréal’s museum of archaeology RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR

01 IDM 02 Stephan Poulin RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Association des architectes paysagistes du Québec WWW.AAPQ.ORG RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Association des arts graphiques du Québec WWW.AAGQ.QC.CA RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Association des designers industriels du Québec WWW.ADIQ.QC.CA RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Association professionnelle des designers d’intérieur du Québec PROFESSIONAL WWW.APDIQ.COM RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR ASSOCIATIONS Conférence interprofessionnelle RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR du design du Québec MONTRÉAL IS THE HEAD- RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR /36 QUARTERS TO ALL OF Conseil des métiers d’art QUÉBEC’S PROFESSIONAL du Québec ASSOCIATIONS IN THE FIELD. WWW.METIERS-D-ART.QC.CA THEY ARE: RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Fonds d’études et de recherches en design intérieur de l’Est RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR International Design Alliance WWW.ICOGRADA.ORG RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Liaison Mode Montréal WWW.LIAISONMODEMONTREAL.COM RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Ordre des architectes du Québec WWW.OAQ.COM RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Ordre des urbanistes du Québec WWW.OUQ.QC.CA RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR CONSEIL DES MÉTIERS D’ART DU INTERNATIONAL QUÉBEC DESIGN ALLIANCE WWW.METIERS-D-ART.QC.CA (ICSID+ICOGRADA=IDA) RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR WWW.ICOGRADA.ORG CONFÉRENCE In America, the first true profes- RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR INTERPROFESSIONNELLE sional association of arts and crafts Of these craft designers, 39% IDA is an international organization DU DESIGN DU QUÉBEC designers, the American Craft live or work in Montréal, and nine whose goal is not only to help bring RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Council, was created in the US in specialized centres gave courses the various players involved in The Conférence interprofessionnelle 1943. In Québec, it was in Montréal there in 2004: design (creators, manufacturers, du design, which comprises in 1949 that the first professional RRR Centre de distributors, promoters, decision Québec’s urban planners, architects, association was created, under the Céramique Bonsecours makers, etc.) together, but also to landscape architects, industrial guidance of Jean-Marie Gauvreau, RRR Conseil des métiers d'art develop design in all its forms by designers, graphic designers and manager of the Office québécois du Québec promoting creation and its econom- interior designers, is a legal entity de l’agriculture et de l’artisanat. l RRR Centre des métiers ic value in our society. It is a new and excellent federative advocate Many organizational modifications du cuir de Montréal venture between founding partners for the people in the profession. This over the years finally led to creation RRR Centre des métiers /37 International Council of Societies board has attracted the interest of of the Conseil des métiers d’art du du verre du Québec of Industrial Design (ICSID) and neighbouring countries while serv- Québec. It contains 800 profes- RRR Centre de recherche International Council of Graphic ing as inspiration for the IDA, which sional craftspeople and is the only et de design en impression Design Associations (Icograda). would like to accomplish interna- organization able to bring together textile de Montréal In May 2005, IDA decided to set up tionally what Québec has managed all craftspeople in Québec based on RRR Centre des textiles its head office for the next 10 years to do locally, that is, build bridges technical criteria (basic master of contemporains de Montréal in Montréal rather than Brussels, between all players in the design crafts) and professional activity. Its RRR École Joaillerie de Montréal Turin, Nagoya, Copenhagen or sector, from those who design the activities (trade shows, exhibitions, RRR Association des relieurs Hong Kong. This not so insignificant objects to those who shape the etc.) generate sales of over $10 mil- du Québec. choice illustrates the power of landscape and build the city. lion a year and economic spin-offs RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Montréal’s attraction as a leading RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR of over $30 million. These profes- city of creation and innovation. sionals belong to various families RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR affiliated around the raw materials of creation such as wood, ceramics, textiles, leather and skins, metal, paper, glass and other materials. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRR The Design Art Department at offers a three-year program that focuses on interdependence between design, arts and human and applied science. It also gives out a graduate diploma in Digit- al Technologies in Design, and a Bachelor of Digital Image and Sound. RRR The École de design industriel at Université de Montréal offers two pro- fessional programs in design: Industrial Design (four years) and Interior Design (three years). The Master of Design and Complexity and Ph.D. in Planning are open to designers seeking to do more advanced research work. RRR The École de design at Université du Québec à Montréal (UQAM), cre- ated in 1974, has three undergraduate programs—Graphic Design and Environmental Design and, in collaboration with Collège LaSalle, TRAINING Fashion Design (three years), along with three special graduate pro- RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR grams: Understanding and Protecting Modern Architecture; Event MONTRÉAL CLEARLY AND Design and Transportation Equipment Design (one year). Founded in BELONGS TO THE NETWORK the 1980s, the school organizes an annual summer session in interna- OF KNOWLEDGE-BASED RESEARCH tional design where distinguished guest speakers talk about topics CITIES, PARTICULARLY RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR such as graphic design, the habitat and the city. BECAUSE OF THE INTER- IT IS HOME TO 20 COLLEGES, RRR The École d’architecture at Université de Montréal has a US-recog- DISCIPLINARY APPROACH, TWO FRENCH-SPEAKING nized training program, just like at McGill University. SYNERGY AND DECOMPART- UNIVERSITIES AND TWO RRR Urban planning is taught at Université de Montréal’s Institut d’urba- MENTALIZATION BEING ENGLISH-SPEAKING nisme, McGill University’s School of Urban Planning and UQAM’s École /38 SOUGHT BY MORE AND UNIVERSITIES. TO THESE supérieure de science de la gestion. MORE OF ITS UNIVERSITIES, UNIVERSITIES CAN BE RRR Université de Montréal has also taught Québec’s only university course ARTISTIC INSTITUTIONS AND ADDED, FOR EXAMPLE, in Landscape Architecture for more than 30 years. A GROWING NUMBER OF ITS OVER 50 CANADIAN ORGANIZATIONS INVOLVED RESEARCH CHAIRS IN THE RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR IN MANY SECTORS. SOCIAL SCIENCES AND Three design-related research chairs are affiliated with RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR HUMANITIES—PROOF THAT Université de Montréal: NETWORKS ARE VERY MUCH RRR Canada Research Chair on Built Heritage; IN EVIDENCE MONTRÉAL. RRR UNESCO Chair on Landscape and Environment; RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRR Chair on Landscape and Environment. Two are attached to UQAM: RRR Canada Research Chair on Urban Heritage; RRR Canada Research Chair in Urban and Regional Studies. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR The university programs are augmented by many college-level programs providing technical training in all design-related disciplines. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR LABORATOIRE D’ÉTUDE DE L’ARCHITECTURE A unique place for conducting POTENTIELLE urban experiments, these sessions (L.E.A.P.) assemble more than 40 architecture, WWW.LEAP.UMONTREAL.CA landscape architecture, urban plan- RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR ning and geography students from Laboratoire d'étude de 01 various countries in North and l'architecture potentielle (L.E.A.P.) UNESCO CHAIR South America and form a college is dedicated to the theories and ON LANDSCAPE of international experts and profes- practices of modern architecture. AND ENVIRONMENT sors to generate viable planning Its main goal is to promote activities WORKSHOP scenarios for local invited communi- in the area of architectural research, AT UNIVERSITÉ ties. These sessions are contests of especially as regards studies related DE MONTRÉAL ideas for which winning students to architecture projects (potential WWW.UNESCO-PAYSAGE.UMONTREAL.CA receive UNESCO prizes. The architecture). LEAP’s strategic RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR CUPEUM Workshop_Atelier/terrain research directions concern: Every year in developing countries is a unique learning model for its RRR the generic analysis of reflective (Morocco 2004, Lebanon 2005, multicultural and cross-disciplinary thinking practices and analogic /39 Tunisia 2006, South Korea 2007), approach, which drives the creation thinking trajectories in the the UNESCO Chair on Landscape of inventive and innovative projects architecture project design and Environment at Université de for the viable development of during competitions between Montréal (CUPEUM) organizes emerging cities in developing 1960 and 2000; Workshop_Atelier/terrain countries. Part of CUPEUM’s RRR the critical history of modern (Workshops/Field Work) sessions Observatoire international des architecture in Canada; on planning the fringe areas of paysages périphériques: villes et RRR the philosophy of systems of cities and metropolises. métropoles, these projects are out- representation and architectural standing laboratories for building design. networks of experience as well LEAP researchers work with as encouraging open dialogue research teams from various between cultures and reflective countries with which they maintain thinking about city design in the very close collaborative (partner- 21st century. ship) or regular (network) contact RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR such as EUROPAN (new architec- ture program). RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR

01 Philippe Poullaouec-Gonidec RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR EXHIBITIONS, BESIDES THE PLAYERS PRESENTED ABOVE: RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR PROMOTIONS THE SALON DES MÉTIERS D’ART DU QUÉBEC is the oldest design event in Québec and celebrated its 50th anniversary in 2005. The Salon chose that AND occasion to hold the exhibition 50 ans de création au Salon des métiers d’art du Québec, which featured the growth of arts and crafts, from tradi- EVENTS tional production to the latest creations most oriented around research, RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR artistic expression and creativity in the design of utilitarian or decorative DESIGN-RELATED objects. The Salon’s 2005 edition included 450 exhibitors and attracted EXHIBITIONS AND over 258,000 visitors. WWW.SALONDESMETIERSDART.COM PROMOTIONS FULFILL A RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR /40 NUMBER OF DIVERSE THE INTERNATIONAL FESTIVAL OF FILM ON ART (FIFA) was created in VISIONS, WHICH INCLUDE 1981 under the aegis of the UNESCO International Council for Film, THE HIGHLIGHTING OF Television and Audiovisual Communication (IFTC). Directed by René MAJOR COLLECTIONS, THE Rozon, the FIFA held its 24th edition in 2006, attracting over 35,000 festival- PROMOTION OF MONTRÉAL goers. This edition’s program included 280 films from some 30 countries HERITAGE AND THE and, as is the case every year, the FIFA devoted a major section to architec- PRODUCTION OF EVENTS ture and design. Besides its Montréal edition, the FIFA is well established in THAT MERGE INNOVATION many venues across Québec and continues to tour the world presenting its WITH INTERDISCIPLINARITY. list of top films, especially in France (Paris and Tourcoing) and the US RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR (Boston, Saint Louis and Washington). WWW.ARTFIFA.COM RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR MONOPOLI is a centre for artists in the area of architecture with the goal of “rallying and stimulating all those passionate about how our built landscape is transformed and constructed”. Designed by Commissioner Sophie Gironnay, MONOPOLI is currently hosting an event called Les Archi-Fictions de Montréal: Six villes invisibles inventées et racontées par…, which explores possible passageways between fiction and archi- RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR tecture by forming duos formed of an architect and a novelist. THE BIENNALE DE MONTRÉAL is organized by the Centre international WWW.GALERIEMONOPOLI.COM d’art contemporain, which, under the direction of Claude Gosselin, earned RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR a reputation, from 1985 to 1996, for holding major contemporary art CHAMP LIBRE, an artistic agency dedicated to promoting multimedia art events. The fourth edition of THE BIENNALE DE MONTRÉAL in 2004 oper- and architecture, organizes in situ events, becoming part of the community ated under the theme Agora : le domaine public, and attracted visual and forming ties among current practices in contemporary art, architecture artists, architects, urban designers and landscape designers interested in and emerging technologies. The Manifestation Internationale Vidéo et Art /41 the future of cities. Claude Gosselin is also the commissioner general of the Électronique, Montréal (MIVAEM) highlights the work of Champ Libre every international biennial of Le Havre, France, Arts le havre 2006, whose La Vie, two years. The next edition of this event entitled Invisible Cité/City of Invis- la Ville section provided a walking course on works that focused on how ible is slated for September 2006 on the site of the Grande Bibliothèque du the city is perceived. Montréal designers were there, including Jacques Québec. WWW.CHAMPLIBRE.COM Bilodeau, Claude Cormier, François Morelli and Michel Goulet. WWW.CIAC.CA RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR A newcomer to Montréal, Galerie-boutique COMMISSAIRE is dedicated to the very latest local and international design creations. This space shows off insolent or uncommon objects, carefully chosen by its two founders: Pierre Laramée (former advertiser) and Josée Lepage (ex-designer). They are pre- sented in themed exhibitions. Under the theme of black, the architect Gilles Saucier is the guest commissioner of the exhibition currently under way. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR l Exhibitions and Public Educa- tional Programs forge links between architectural thinking and practice, the history of ideas, and changing social and cultural conditions. l Over 30 years ago, architect Programs are both local and inter- Phyllis Lambert began the collection national in scope. They interpret CANADIAN CENTRE FOR that would become the cornerstone architectural ideas to the wider ARCHITECTURE (CCA) of the CCA. In addition to being public at all age-levels as well as to WWW.CCA.QC.CA founding director of the institution, architects and scholars, aiming to RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Phyllis Lambert is Chair of its Board reveal the richness of architectural The Canadian Centre for of Trustees. l Today the CCA and urban culture and to stimulate Architecture (CCA) was founded Collection, comprising works dating dynamic engagement with contem- in 1979 as a new form of cultural from the Renaissance to the present porary issues and debates. The institution to build public awareness day, documents the culture of archi- CCA Bookstore specializes in the of the role of architecture in society, tecture throughout the world—past, literature of architecture and an promote scholarly research in the present, and future. It provides extensive range of interrelated field, and stimulate innovation in evidence in depth of cultural and topics, offering a selection of publi- design practice. l The CCA is an intellectual circles of the past, cations from around the world. l /42 international research centre and points to the future of architectural The Study Centre was inaugurated museum founded on the conviction thinking and practice, and reveals in 1997 as an international institute that architecture is a public concern. the changing character of thought devoted to research in all aspects Based on its extensive collections, and observation pertaining to archi- of architectural thought and prac- the CCA is a leading voice in tecture. Unparalleled in scope, the tice. Through its Visiting Scholars advancing knowledge, promoting Prints and Drawings, Photographs, Program, seminars, and colloquia, public understanding, and widening Archives and Library comprise of the Study Centre supports individ- thought and debate on the art of dynamically interrelated bodies of ual research efforts and advances architecture, its history, theory, primary and secondary materials broad new lines of discourse and practice, and role in society today. that advance thinking about the 01 investigation. Linking advanced nature of the built domain and the research with public engagement in ideas that underlie it. architecture, the CCA encourages scholars to pursue projects in the spirit of a broadly connective inquiry that cuts across time, space, and media. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR

01 Michel Boulet CCA SOCIETY MONTRÉAL MUSEUM FOR ARTS OF FINE ARTS — AND TECHNOLOGY DECORATIVE ARTS (SAT) COLLECTION WWW.SAT.QC.CA WWW.MBAM.QC.CA RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Founded in 1996 by the organizers In 2000, the Montréal Museum of of the International Symposium for Fine Arts received a donation of Electronic Art, the Society for Arts one of the largest collections of and Technology is a research and decorative arts and design in North meeting centre for digital artists.

01 America, containing 5,000 objects Its current president is Monique from the mid-1930s to today. This Savoie. As a reference institution collection bears the name of the for today’s art, its main goal is the founders of the Musée des Arts national and international presenta- Décoratifs de Montréal, Liliane and tion of local artists who combine David M. Stewart, and enabled the art, design, science and technology. MMFA to set up within its walls one SAT programs include the interna- of the richest displays on the evolu- tional residency initiative designed tion of recent design. These acqui- to bring artists and representatives sitions, which enhance the work of recognized digital arts organiza- done by F. Cleveland Morgan in tions to Montréal. This initiative has 1910s, now make the institution one given Montréal artists and curators of the largest decorative arts muse- a chance to explore opportunities ums on the American continent. for productions and co-productions l Large international exhibitions, with these individuals and extend 02 presented and organized by the the context of creation in media arts Museum and accompanied by to the local artistic community. scientific catalogues, are regularly Through its many projects, such as featured in its program: Jack Lenor the Weber server, which provides Larsen: Creator and Collector; free storage and disk space for the Aluminium by Design: From Jewel Web sites of artists and organiza- to Jet; Masterpieces in Motion; What tions the world over, the SAT is a Modern Was: Design 1935–1965. leader in collaboration and stimula- Next on the list starting in May 2006 tion between the artistic and scien- is Il modo italiano. Italian Design tific disciplines of Montréal and and Avant-garde in the 20th Century. elsewhere… RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR

01 Alex Kempkens 02 SAT l The Centre's creations range from exhibitions featuring top- LE NOUVEAU MONTRÉAL quality set designs and graphic Projets urbains marquants dans le media to the production of touring Vieux-Montréal l This exhibition exhibitions. The Centre’s graphic used drawings, plans, photographs creations, invitations, posters, and models to explain some note- brochures, catalogues and Web worthy projects involving past and site have also won many prizes. future plans for Old Montréal and CENTRE l The three major exhibitions its surrounding area. l The major DE DESIGN that follow eloquently illustrate projects presented included DE L’UNIVERSITÉ the Centre’s overall approach. l especially residences in Faubourg DU QUÉBEC MAIN DESIGN 04 Québec, Cité du multimédia, À MONTRÉAL (UQAM) This exhibition provided a panora- Montréal’s Quartier international, WWW.CENTREDEDESIGN.UQAM.CA ma of Québec creation in design the renovation of infrastructures RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR against a backdrop of Boulevard and public spaces or the Musée Since 1981, Centre de design – Saint-Laurent—“The Main”—right Pointe-à-Callière. The exhibition UQAM, the principal place in at the beginnings of the latest urban produced by the Centre de Design Canada devoted entirely to the trends. By juxtaposing animated de l’UQAM received financial support promotion of all areas of design images of Montréal life, interviews from the Government of Québec, (graphic, industrial, fashion, archi- with creators and presentations of the City of Montréal and Caisse de /44 tectural and urban design), has held objects, Main Design 04 presented dépôt et placement Québec. It was more than 250 exhibitions, some 40 a kaleidoscopic view of the latest presented in Montréal, Lyon, of which outside its walls, in cultural creations in all areas of design: Brussels and New York. l centres, museums or institutional fashion, graphic design, industrial L’AFFICHE CONTEMPORAINE and private galleries. l Its exhibi- design, interior design, art objects AU QUÉBEC 01 tions, which feature the creations and exhibition sites. More than a This exhibition displayed 100 posters of great modern and contemporary hundred Montréal designers were illustrating the various graphic designers from around the world there. l It was designed and currents and best creations from and the best Québec productions, produced by the Centre de Design the 1960s to today. l Produced by are open to students, professionals de l’UQAM, in collaboration with the Centre de Design de l’UQAM and the general public. Émission d. From Musique Plus and with financial backing from the with the help of Publicité Sauvage, Government of Québec and Conseil for Lille 2004, capitale européenne des Arts de Montréal, it visited six de la culture, and then presented in Montréal cultural centres, and then Paris, Saint-Étienne and Montréal, Chicoutimi and Québec City, as well with financial support from the as museums in China, Argentina Government of Québec and City and Mexico. of Montréal. l RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR

01 Michel Bunelle INSTITUT HÉRITAGE OF DESIGN MONTRÉAL MONTRÉAL WWW.HERITAGEMONTREAL.QC.CA (IDM) RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR WWW.IDM.QC.CA Héritage Montréal is an independ- RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR ent, non-profit, private organization The goal of the Institute of Design dedicated to the preservation of Montréal (IDM), inaugurated in 1993 Finally, under the aegis of Montréal Montreal's urban, architectural, and directed by Eleni Stavridou, is International (www.montrealinterna- landscape and social heritage. It to promote design as an economic tional.com), whose mission is to program director, Dinu Bumbaru, value and have Montreal become support the economic development has also been an elected member a design centre of international of Greater Montréal and increase its of the Executive Committee of calibre. Its objectives are: international status, the Institute the International Council on RRR to have design become a brand was very instrumental in establish- Monuments and Sites (ICOMOS) image for products and ing the head office of International since 1993. Héritage Montréal’s a major lever for improving the Design Alliance in Montréal. l mission is to promote both advo- competitiveness of Quebec May, designated by the Institute of cacy and education, helping people companies in the marketplace; Design Montréal as Design Month, understand the great richness of /45 RRR to reinforce Montreal's role as a is the time chosen for promotional Montreal's urban environment design development pole in events. The program includes (Architectours), as well as to remain Quebec and as an international exhibitions by students from all a vigilant critic and maintain a centre of excellence in design. Montréal design schools, the Salon critical presence among architects, To accomplish that, the IDM has international de design intérieur urban planners, owners and political implemented programs involving de Montréal and the awarding of decision makers to prevent ill-con- consultation, financial support for Institute of Design Montréal prizes ceived plans from impoverishing the professional designers and new and bursaries. urban environment or robbing it of designers, matching of student RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR its originality. Through its Orange designers with businesses, bur- and Lemon awards, handed out 01 saries, job integration, information every year to new Montréal build- workshops, design diagnostics and ings, Héritage Montréal, along with consulting services. The IDM sup- Save Montréal, encourages creation ports specific activities such as a and urban design on top-quality design experimentation laboratory, projects, featured for their social, a focus group, opportunity studies, cultural and economic values. conferences and exhibitions, and RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR multidisciplinary research.

01 City of Montréal DOCOMOMO QUÉBEC 02 RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Created in 1989 as Montréal SIDIM has always managed to take Moderne, DOCOMOMO Québec the pulse of businesses, from both is a non-profit organization devoted here and abroad, devoted to the to providing knowledge about and design, production, distribution and preserving modern architecture in SALON retail sale of products and services Québec and making the general INTERNATIONAL used in interior design. SIDIM’s public and decision makers aware DU DESIGN success is due to the originality of 01 of the importance of this built INTÉRIEUR its thematic projects such as the heritage. Since 1994, DOCOMOMO DE MONTRÉAL Tribune de designers, which shines Québec has belonged to the (SIDIM) a spotlight on the latest works of DOCOMOMO International network, WWW.SIDIM.CA Québec designers. Also noteworthy with which are affiliated some 40 RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR are programs such as Point de mire, national or regional groups from Founded in 1989 by Ginette Mobilier d’ici à demain, Série Europe, the Americas and Asia. Gadoury, SIDIM (Montréal Limitée, Le Quartier Affaires, l DOCOMOMO is the acronym for International Interior Design Show) Eurodesign and Tendenza Italia. /46 Documentation and Conservation is one of the largest annual interior Working with public and private of buildings, sites and neighbour- design shows in Canada. Reflecting partners, SIDIM awards annual hoods of the Modern Movement. the vitality of emerging design, the bursaries in a variety of categories The primary mission of DOCOMO- show, which takes place at the end to underscore the excellence of MO International, founded in 1988 of May, is an opportunity to discover Québec creation. A platform for in the Netherlands, is to provide the new local and global design trends. economic and cultural exchanges historical knowledge and technical Every year, 300 businesses show- that cannot be ignored, the event is know-how needed to preserve the case a selection of their products a catalyst of talents and a stimulator most important buildings, sites in a over 20,000 m2 of space. of Montréal creativity. It clearly and neighbourhoods of the contributes to improving Montréal’s Modern Movement. DOCOMOMO status on the local, national and International’s goal is to prevent international scenes. their destruction and oversee the RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR creation of a global inventory, in which DOCOMOMO Québec is involved as a regional member. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR

01 Philippe Poullaouec-Gonidec 02 SIDIM SENSATION MODE Founded in 1999, Sensation Mode seeks to position Montreal as a EXPO fashion hub on both the national AGEING and international scenes. To this MONTRÉAL end, it raises awareness of the WWW.IFA-FIV.ORG know-how, creativity and diverse RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR commercial offering of the city, Montréal will site of a world increasing its visibility by coordinat- exposition on design innovation for MONTRÉAL ing various initiatives targeting a the ageing in 2008: Expo Ageing FASHION common objective. l Sensation Montreal. This international event WEEK Mode produces and stages the will take the form of an exhibition WWW.MFW.CA largest fashion events in Canada, and scientific congress to motivate RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR including the Montreal Fashion and thinking about opportunities for MONTRÉAL FASHION WEEK Design Festival and Montreal 01 exploiting design to benefit our The mission of Montréal Fashion Fashion Week. In support of these ageing society. Under the aegis Week is to promote Québec design- different initiatives, it has developed Montréal, a city of creation and of the International Federation on ers to the fashion industry, buyers the expertise and strategic market- innovation, is known for its interna- Ageing (IFA), the congress will and journalists. Created in Septem- ing tools needed to ensure their tional population and its multiple bring together the world’s leading ber 2001 by Liaison Mode Montréal, outreach. l In the process, cultural influences. A city open to designers, manufacturers, Montréal Fashion Week is set to Sensation Mode has become the world and to differences, it researchers, service providers, hold its 9th edition. From the time it known for its unique, avant-garde serves as an inspiration for its many /47 planners, developers and govern- was first launched, this event has concepts. In fact, experiences creators. It offers the best of both ment policymakers. The Expo will allowed the fashion press and buy- proposed by Sensation Mode offer worlds, an American lifestyle with a connect design to ageing through ers to discover emerging labels l partners associated with different European flair. the production of objects and envi- LIAISON MODE MONTRÉAL projects a unique platform for their RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR ronments from applied research. The instigator of Montréal Fashion operations. l Sensation Mode’s This interface will improve the Week, Liaison Mode Montréal is a unequalled expertise in its field quality of life of older people group of associations dedicated to allows it to provide its clients with through greater independence and raising national and international peerless turnkey service. l The autonomy for all ages. The event awareness of the fashion and cloth- fashion industry in Montréal is the will also showcase the awareness ing industry, positioning Montréal leading employer in the manufactur- and interest of decision makers and as one of North America’s major ing sector with its 33,530 jobs. creators who are already involved creative and production centres. l Montréal is the 3rd largest apparel in developing a living environment production centre in North America, that responds to generational and after Los Angeles and New York, cultural nuances of communities and the 1st in job concentration. around the world. The industry pays $768 million in RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR wages and generates $3.6 billion in manufacturing shipments, 80% of which are intended for the Canadian market. l

01 Jimmy Hamelin THEY INCLUDE: RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR TV / RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRR ÉMISSION D, a weekly maga- zine broadcast to all French- speaking audiences via TV5, mixing fashion and design RRR VISITE LIBRE, show dedicated to the architecture and planning of private Québec residences, both old and new RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR MAGAZINES / RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRR INTÉRIEURS, the sector’s Of final note is the availability of a largest international networking multitude of public publications and magazine TV shows covering interior design, MEDIA RRR ARQ (architecture Québec), gardening design and more general RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR EGO, Vie des arts, Grafika, lifestyle issues. Though categorized IF THE MEDIA ARE ANY Urbania, specialized journals as popular, these publications INDICATOR OF A SECTOR’S RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR are just as important for raising /48 VITALITY, DESIGN IS CLEARLY WEEKLIES / requirements related to a quality VERY ALIVE AND WELL. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR living environment. l It is said that RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRR VOIR LA VIE, VOIR LA VILLE, Québec is the province that pro- a monthly insert in a free duces and consumes the greatest cultural weekly number of decorating and lifestyle RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR magazines in Canada. WEB / RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR WWW.CREATIVITEMONTREAL.COM CRÉATIVITÉ MONTRÉAL, a newsletter on the latest in Montréal design WWW.MADEINMTL.COM MADEINMTL.COM, a virtual tour of Montréal covering all the latest developments WWW.MOCOLOCO.COM MOCOMONTREAL, a Web magazine and directory of everything on contemporary design and architecture RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR CRÉATIVITÉ RRR LES 10 ANS RRR VU DANS LA PRESSE MONTRÉAL DE L’ATELIER IN SITU INTERNATIONALE RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR ATELIER IN SITU is celebrating In the Australian magazine A portal for discussion and its 10th anniversary! A decade POL Oxygen: the Goulet House, communication between designers devoted to architecture that is developed by Montréal archi- and the Montréal public that went innovative, ingenious and open tects SAIA, BARBARESE online on February 21, 2006, to its physical, as well as social and TOPOUZANOV, and a Créativité Montréal is an initiative of and cultural, environment. portrait of the Montréal office Communication Design Montréal ...... of SAUCIER + PERROTTE developed in partnership with the RRR UN MONTRÉALAIS under the flattering title City of Montréal. As a Web site SUR LA ROUTE DE LA SOIE Architects of Imagination. and weekly electronic magazine, EN CHINE — Transdisciplinarity, ...... Créativité Montréal keeps in touch architecture in motion, the RRR DÉCOR DE FIN with the population and the com- global search for exploration of DE PARTY À LA SOIRÉE munity design providing the latest cultural identities: the practice URBANIA — The designer /49 news in the areas of architecture, of JEAN BEAUDOIN and his ANTOINE LAVERDIÈRE launch- design and the city. With its search Intégral studio is structured es his event design section by engine, the site is a tremendous around various issues and holding a kick-off evening for information tool for learning about experiences related to chance the latest edition of Urbania Montréal’s dynamic design sector in travel and encounters. devoted to parties. and the evolution of the urban envi- ...... ronment through various forms of RRR L’ATELIER SCRAP, RRR LA BELGIQUE HONORE LE creation. l Some of the latest news LA SECONDE VIE DES DESIGNER KOEN DE WINTER from Créativité Montréal showing ORIFLAMMES — They flutter KOEN DE WINTER, a prolific what’s happening in architecture, in the wind for a few weeks, industrial designer and creator design and the city: announce the latest events, of a multitude of domestic and RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR flaunt their colours, and then recreational objects, receives a To subscribe to the newsletter: disappear… prestigious design award from WWW.CREATIVITEMONTREAL.COM ...... his native country, Belgium. QUARTIER INTERNATIONAL DE MONTRÉAL (QIM) WWW.QIMTL.QC.CA RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR PATHFINDER Created in 1999, the Quartier inter- national de Montréal (QIM) is a PROJECTS non-profit organization that sprung RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR from the desire of the Montréal DESIGN QUALITY AND community, under the leadership INNOVATION ARE EVIDENT of the Caisse de dépôt et place- THROUGHOUT THE CITY ment du Québec, to give the city a IN BOTH HIGH-END AND prestigious district of world calibre: WORKING-CLASS NEIGH- the QIM project. l Inaugurated in BOURHOODS. INNOVATIVE, 2004, the Quartier international is PROMISING ACHIEVEMENTS a new urban area located between ILLUSTRATE THIS POST- the city's business district and SPECTACULAR CREATIVITY. Old Montréal. As a large-scale MONTRÉAL ACTUALLY development and revitalization /50 RELIES MORE ON DESIGNS project, the QIM's mission is to OR CONSTRUCTIONS THAT promote and develop Montréal's SOLICIT THE DIRECT international vocation. It is an envi- PARTICIPATION OF CITIZENS. ronment that is truly contemporary, THIS INVOLVEMENT MAY prestigious and exclusive offering BE FINANCIAL AS IN THE an exceptional quality of life right in CASE OF MONTRÉAL’S 01 the heart of downtown l Given its QUARTIER INTERNATIONAL superior development concept and OR RELY ON CONSENSUS- status as Canada's hub for interna- BUILDING AS IN THE CASE tional activities, the Quartier has OF BENNY FARM. become Montréal's prime sector RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR for strategic growth. The project, representing an investment of more than $90 million, is the product of a unique partnership between public and private sectors. Current spin- offs from this major undertaking total more than $1 billion. l

01 Alain Laforest et Pierre Zabbal The QIM project would not have been possible without the vision and social conscience of the sector's property owners. In fact, these The Quartier international de 01 landlords voluntarily accepted to Montréal project has won several invest in a public project not only to local and international competitions. maximize their investments but also The project has received universal to become involved in a meaningful praise and earned distinctions in way in improving the environment more than 12 different categories, for their employees and everyone confirming the QIM approach and who comes to the Quartier inter- conviction that quality investments national. Through the Landlords in urban design and development Association of the Quartier inter- stimulate additional quality invest- national de Montréal, property ments by the sector's property owners agreed to invest more than owners. This dynamic has gener- $8 million in public property and ated significant spinoffs in a number lands (streets, sidewalks, trees, of industries from architecture, real parks, etc.) by way of a voluntary estate and tourism to engineering, local improvement tax. l The vision culture, design and management. of overall planning developed from Of the 22 awards received, the the outset and which made it QIM was especially honoured by possible to work simultaneously the equivalent of an Oscar in urban on from the urban to the object, is project management—the 2005 a second characteristic of the PMI Project of the Year award given project. The concept’s consistency out by the Project Management is mainly due by sector to: Institute. l Designed to enhance RRR Concept: Daoust Lestage — the well-being of pedestrians and Architecture and Urban Design turned towards the future and the RRR Architecture-Urban Design: world, the QIM is a perfect example Consortium Daoust Lestage — of the successful utilization of design Provencher, Roy et associés to shape the face of Montréal. RRR Civil Engineering: GÉNIVAR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRR Industrial Design: Michel Dallaire Design Industriel Inc. RRR Lighting: Éclairage public

01 Jonathan Picard (QIM) l In 2003, after operating for four years under the name Cité des arts du cirque, the organization adopted a new identity—TOHU—which GRANDE reflects its many fields of activity BIBLIOTHÈQUE and its mission. The emergence of AND ARCHIVES TOHU is a core driver of local and NATIONALES international mobilization around DU QUÉBEC TOHU, initiatives centered on sustainable WWW.BANQ.QC.CA LA CITÉ development and the social econo- RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR DES my. l In 2004, TOHU la Cité des Inaugurated in 2005, the Grande ARTS DU CIRQUE arts du cirque opened the doors to Bibliothèque du Québec is one WWW.TOHU.CA the building housing its operations— of the projects that supported RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR an example of green architecture the largest architectural creativity The mission of La Cité des arts du designed in a consortium by operation ever organized in cirque is to make Montréal an inter- Schème Consultants, Jodoin, Québec. The contract for the national circus arts capital while Lamarre, Pratte et associés archi- design and development of this participating in the rehabilitation tectes, the architect Jacques public building was actually granted of the Saint-Michel Environmental Plante, and the firm of Martin Roy following an international competi- Complex (ex-Miron Quarry) and et associés – ingénieurs conseil. tion that attracted the greatest revitalization of the Saint-Michel Entering the TOHU pavilion is to names in architecture, and the team District. It was founded by the penetrate a world where every of Patkau/Croft-Pelletier/Gilles National Circus School, En Piste— space and every experience Guité Architectes came out the Québec’s association of circus enjoyed on the site respects the winner of this interactive process. professionals, and Cirque du Soleil. environment. Several items alert Concurrently with this contest, a Aware of the context in which the visitors to the principles and tangi- second competition was held to Cité des arts du cirque is evolving, ble applications of sustainable choose the designer of all the furni- the organization expanded its buildings, such as, for example, the ture for the new library (Michel mission to add environmental and eco heating, ice bunker and passive Dallaire). Consequently, the GBQ community components. geothermics, the natural/hybrid has helped put major competitions 02 ventilation and the natural basin. back on the agenda, considered To guide its ecological construction a recognized tool for conducting efforts, TOHU aimed for the “gold” large-scale projects aimed at level in the LEED (Leadership in embodying a part of our heritage. Energy and Environmental Design) The GBQ also helped democratize international certification. l architectural creation while spread- 01 Since its inauguration, TOHU la ing the word about our know-how Cité des arts du cirque has won to the international arena. many prizes and awards in architec- RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR ture and sustainable development and has inspired the development of other projects both locally and internationally. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR

01 Alain Laforest 02 Giovanni de Paoli PLANNING OF PLACE ÉMILIE-GAMELIN AND PLACE D’YOUVILLE RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR l To celebrate Montréal’s 350th «Place du 350e anniversaire» of anniversary, France asked five of its the founding of Montréal, Parc most prominent creators to take a 01 Émilie-Gamelin was designed new look at the New World by between 1990 and 1992 by proposing a planning concept for Montréal landscape architects Place D’Youville in Old Montréal. Philippe Poullaouec-Gonidec and These “new looks ” were not very Peter Jacobs and features the work compatible with the square’s actual of Canadian artist and architect, heritage, but they led to a second Melvin Charney. Located in the exercise involving a local competi- heart of Montréal’s Latin Quarter, tion, a municipal first. Following an this is a unique public square; it invitation to tender, three firms is emblematic of the renewal of were chosen for the idea competi- Montréal’s open spaces. Though it tion stage in early 1997. Groupe is a public space that breaks from Cardinal Hardy inc./Claude Cormier, the neo-Victorian formalism of architectes paysagistes won the Montréal’s public squares, it is competition with their tightly woven anchored in its territory, its memory. sidewalks. Besides preserving all /53 The identity of this place is charac- the monuments and works of art terized by both the expression of already there, evocation of the site’s its immediate urban setting or material memory was limited to the belonging to the topography with William Collector, an impressive Mount Royal, a symbol of the City work of engineering from the early Montréal. Winner of many awards of 19th century—accessible from the excellence and the subject of sever- Musée Pointe-à-Callière—which al international publications, Place channels a river. The collector has Émilie-Gamelin, expresses through been transposed into a central its narrative evocations the impor- sidewalk axis in granite. Phase 1 of tance of enhancing the singularities the project ended in 1999. Winner of the Montréal landscape in urban of many awards, Place D’Youville 02 design. A voluntary or hybrid public quickly became a favourite of the space between the idea of square, resident owners and workers park and urban plaza, this place because of its obvious friendly has, since opening to the public, atmosphere. l Both these public become a place for political, social squares are among the best illustra- and cultural expression where a tions of the typically Montréal con- citizen’s right to free speech mixes textual approach that transcribes with that of being able to laze about the memory of a place through a freely in today’s urban setting. resolutely contemporary design. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR

01 Philippe Poullaouec-Gonidec 02 Normand Rajotte BENNY FARM WWW.BENNYFARM.ORG RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Located in Montréal’s Notre-Dame- de-Grâce District and occupying an area of some 18 acres (7.3 hectares), the Benny Farm complex was planned in 1946 and 1947 as a l For its redevelopment, Benny garden town. The Canada Lands Farm drew on the expertise of many Company has owned it since 1999. consultants, including those from 01 l The goal of the Benny Farm architects Pearl, Poddubiuk et redevelopment project is to try to associés (L’OEUF), which agreed to provide a solution that responds to several years and projects. L’OEUF the needs of Notre-Dame-de-Grâce (L’Office de l’éclectisme urbain et while blending harmoniously into l In 2006, the members of the fonctionnel), founded in 1992, is an the surrounding neighbourhood. The Benny Farm Task Force received office that supports a diversified, new development includes some the Canada Urban Institute Leader- expanded architecture practice. 530 affordable homes intended for ship award in the City Renewal Working in the architecture main- low and middle income households. category. This Canada-wide award stream while remaining alert to The entire site involves various recognizes the exemplary contribu- political and ecological issues often types of tenure (co-ops, non-profit tion individuals have made to the excluded from the practice’s con- housing, private and co-owned revitalization and enrichment of text, L’OEUF develops architectures /54 rental units) and types of housing cities. The Canada Urban Institute that strive to fit with the latent social (row housing, triplexes, sixplexes therefore acknowledges the out- and environmental features of a and apartment buildings). More standing contribution of the Benny particular context, to surface them than a third of the units are intended Farm Task Force to attitude-building, and to exploit them so they become for home ownership. The rental the promotion of public participation the basis of the architectural project. units, approximately 200 units and transformation of the city land- The Greening of the Infrastructure administered by co-ops and non- scape for future generations. project at Benny Farm recently won profit organizations (NPOs), target an international award in the sus- specific groups: retirees, new fami- tainable construction competition lies, single mothers and mobility held by the HOLCIM

02 impaired persons. The City of FOUNDATION FOR SUSTAINABLE Montréal is heavily involved in the CONSTRUCTION. Benny Farm redevelopment strate- RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR gy, particularly when it comes to zoning changes and funding for the various affordable housing programs (via Opération Solidarité 5000 logements). The proposed redevelopment includes many innovations in the areas of public participation, planning, design and sustainable development.

01, 02 City of Montréal l In 1981, this part of the Port of Montréal was decommissioned, and its administration was placed in the AMÉNAGEMENT hands of the Société du Vieux-Port DU de Montréal. With this change of VIEUX-PORT status, the old docks lining the river DE MONTRÉAL lost their harbour function. Starting WWW.VIEUXPORTDEMONTREAL.COM in 1981 and following a master plan RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR prepared by Peter Rose, architect, When the St. Lawrence Seaway and Jodoin Lamarre Pratte & ass. opened in 1959, it smoothed the Architectes to free up the space l Later on in 2000, the Centre des way for ocean liners to travel between Old Montréal and the river, sciences de Montréal was created through to the Great Lakes without the hangars and grain silos were in one of the hangars on the King stopping in Montréal. The port suf- demolished, six of the eight railway Edward Quay. This exhibition centre fered a serious downturn in activity. tracks following Rue de la Com- was developed by the consortium l In 1977, the Canadian government mune were removed, and the now of architects comprising Daoust announced its plans to redevelop the freed-up land was developed into a Lestage et Faucher, Aubertin, old section of the port. In 1979, the promenade and green space (1984). Brodeur, Gauthier. l Since this population was invited to comment l A few years later, the master plan redevelopment, the site has been on four possible redevelopment was updated by the Cardinal Hardy used for a multitude of artistic, plans. l The site is now home to a Group. The new concept was based heritage, recreational, nautical and /55 vast multifunctional development on the site’s identity as a port and sports events that keep it bustling that includes high-density housing. industrial facility and proposed with life year round. The venue The lively reactions this project using archaeological remnants as quickly became the favourite elicited led to two public consulta- the basis for the narrative program. meeting-place of Montréalers. l tions six years apart. Little by little, l The same firm was also hired to The Old Port of Montréal remains the recommendations adopted redevelop the Bonsecours and a unique case of the complete suggested redeveloping the site Écluses sectors, build the Maison rehabilitation of an industrial site on into a park while maintaining port des Éclusiers and Pavillon Jacques- the seaside or riverfront for entirely operations. Montréalers passionate- 01 Cartier, and design the street public purposes; it has also ly wanted to have a wide view onto furniture and lighting. Collaborators garnered international recognition the river because the port’s location and consultants were put to work for the excellence of the work. in front of the old city was the only in specific areas of specialization, RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR sizeable piece of public land that such as Parent, Latreille & ass., could provide river access along Pluram inc., Chan & Krieger Arch., the entire 25-kilometre shoreline Georges Sexton Ass., Peter Walker occupied by the port. & Partners, Landscape Architecture, Morelli Designers, Simon Cayouette and Lucien Chartrand & ass. The Pavillon du bassin Bonsecours is the work of Luc Laporte, architect. These jobs were completed in 1992.

01 Denis Labine 01

l The canal had a major impact on Montréal’s industrial and urban growth as the first home to the Canadian manufacturing industry. From the mid-19th century on, the LACHINE proximity of the Port of Montréal, l For its part, the City of Montréal’s CANAL the large volume of commercial investments in the lands it owns on REVITALIZATION traffic and the hydraulic potential of the sides of the canal have included WWW.PC.GC.CA/LHN-NHS/QC/CANALLACHINE the water passing through its locks such projects as the development RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR helped start up many of the indus- or redevelopment of public spaces, The 14-kilometre tries that gave birth to one of the and the construction of road infra- cuts across the south-western largest industrial corridors on the l Following several years of dis- structures or visitor service build- part of the Island of Montréal. This continent and in the British Empire. cussion, negotiation and planning, ings. l Many designers have been man-made navigable corridor was l The industrial buildings that the Canadian government and the asked to take part in the work. They originally designed as a way to avoid remain today along the canal, City of Montréal announced in 1997 include Williams, Asselin, Ackaoui the and facilitate together with the transportation the initiation of the Lachine Canal and Associates, a firm of landscape navigation along the St. Lawrence. equipment and infrastructures that Revitalization Project ($100 million). architects, for the development plan The first canal, dug between 1821 abut and straddle the waterway, These public funds have since gen- entitled Plan d'ensemble, esquisses and 1825, was expanded substan- create a considerable landscape erated private investments of some d'aménagement et motifs d'aména- /56 tially between 1843 and 1848, that testifies to Montréal’s industrial $250 million. l and gement. l The beautification oper- and then between 1873 and 1884. boom from the 19th to the mid- its federal financial partners have ation has also required the collabo- Its five twinned locks drop some 20th century and that evoke the role thus been working on restoring the ration of several public, community 14 metres. l This canal and its the Lachine Canal played in that canal’s infrastructures (locks, spill- and private organizations to both related engineering works provide boom. l Since being transferred ways, retaining walls, etc.) to make develop and manage the site. This unique evidence of how navigation to Parks Canada in 1978, the them operational once again. The ongoing revitalization project is on the St. Lawrence and maritime Lachine Canal, declared a national canal has been open to pleasure helping the Sud-ouest de Montréal transportation in Canada have historic site, has served mainly as boating since 2002. borough get its economy back up evolved. They also bring to mind a city park for recreation. During to cruising speed and thus serve as the decisive role the canal played the 1970s, 1980s and 1990s, the leverage to attract many of the pri- as the headend of the network of development of a green space vately funded projects in both the canals connecting the criss-crossed by a bicycle path industrial and residential sectors. Ocean to the heart of the continent. and pedestrian walkways gave area RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR residents access to an urban area that had been gradually abandoned once the canal was closed to through traffic. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR SUPPORT FOR PROMOTION These partners have invested over OF THE DESIGN SECTOR $7.1 million to achieve these two In the past few years, the govern- objectives since 2001. ments of Canada and Québec have RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR agreed to pool their efforts in order SUPPORT FOR REQUALIFICATION to maximize the effects of their OF THE CITY THROUGH DESIGN respective interventions on Quebec’s Programs whose key objectives are design industry. The key government to improve the living environment granting agencies in the design obviously provide major leverage sector in Québec are: for city design. The Urban Renewal For the Government of Québec: Program, a product of the partner- RRR Ministère des Affaires ship between the Government of PUBLIC municipales et des Régions Québec and the City of Montréal, du Québec (MAMR); is the first example. It supports SECTOR RRR Ministère de la Culture et des “integrated urban revitalization” Communications (MCC); types of approaches intended for PARTNERSHIPS RRR Ministère du Développement certain sectors targeted by the économique, de l’Innovation city’s land. These approaches are RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR et de l’Exportation (MDEIE). aimed mainly at improving both the MOTIVATING THE PRIVATE l GIVEN SUCH A CONTEXT, For the federal government: living conditions of the population SECTOR TO INVEST IN THE CITY OF MONTRÉAL RRR Canada Economic and the physical environment in PRODUCTS WHOSE ADDED ENTERED INTO PARTNER- /112 Development (CED). which they are developing. l /57 VALUE IS TIED DIRECTLY TO SHIPS WITH THE PROVINCIAL RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR The second example concerns the CREATIVE MOVEMENTS SUCH GOVERNMENT TO PROMOTE The general objectives targeted Canada-Quebec Infrastructure AS DESIGN OFTEN HELPS THE DESIGN SECTOR AND by the granting agencies concern Works Program and the Québec- STIMULATE THE INVOLVE- CARRY OUT URBAN ACTIVI- two aspects: the integration of design Municipalities Program. Investments MENT OF THE PUBLIC SEC- TIES QUALIFIED BY DESIGN. into business and the national and in rebuilding the water system, TOR. FOR CONTRACTORS, RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR international outreach of Quebec sewage and road networks often GOVERNMENTS ARE A KIND design: provide the opportunity to rethink OF RECOGNITION OF THE RRR As concerns the integration of the surface layout of these restored GRAVITY AND VALUE OF design into business, the goal public rights of way. The other THOSE INVESTMENTS. is to make manufacturing and category of project these programs commercial enterprises more support concerns public facilities competitive by showing them such as the renovation, expansion the value of design as a factor of or construction of sports complexes innovation and competitiveness. or public markets. These are just RRR As concerns the national some of the many opportunities and international outreach of available to contribute directly to Québec design, the goal is the design of the city through inter- to raise the visibility of design, departmental alliances. develop new markets for RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR products and designers and boost the status of Montréal and Québec design in the global marketplace. AGREEMENT ON MONTRÉAL’S CULTURAL DEVELOPMENT RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR The first cultural partnership with the Government of Québec FONDS DE was formed in Montréal with the DÉVELOPPEMENT DE Agreement on Old Montréal and LA MÉTROPOLE Montréal’s Heritage in 1979. Since RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR 1995 on, this partnership has The Fonds de développement de opened up to include culture in la métropole (FDM) has been general. A new generation of supporting design initiatives since l From 2001 to 2004, the FDM agreements renewed several times 1997. For example, towards the injected close to $3 million into six is now targeting a multitude of fields end of the 1980s, it was a partner design organizations to hold design of activity to help the population in the Petites hôtelleries network, exhibitions that toured abroad, a access and participate in arts and which helped create a distinctive Salon international du design d’inté- culture. l The Commerce Design signature for the hotel industry in rieur de Montréal (SIDIM), activities /58 Montréal program received its Old Montréal as a complement to promote and grow the national first financial support under the to the Agreement on the Cultural and international status of Québec Agreement on the Cultural Development of Montréal. designers, the Commerce Design Development of Montréal in 1999. Escheated properties are recycled Montréal competition, Montréal Its goal was to support the program into high-end boutique hotels this Fashion Weeks, and the Sensation to increase public awareness of way. Most of them have won awards Mode Festival. commercial design. The ministerial in the Commerce Design Montréal RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR partner’s participation has evolved 01 competition, such as the Gault since then. The new strategic Hotel, designed by architects YH2. direction is now to support initia- tives to revitalize heritage through design under Design Montréal’s integrated action plan. This is tangible recognition of the strictly Montréal approach to this cohabita- tion of heritage and design. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR

01 Le photographe masqué OF THE DESIGN: IMAGINING• CORE DRIVER BUILDING MONTRÉAL 2025 PROJECT 01

RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Since 1991, through the actions of its Commissariat au design, which combines the job of publicizing outstanding achievements with the role of supporting design orders (competition for the furniture for the Casino de Montréal and Grande Bibliothèque du Québec, workshop on the identity of the Quartier des spectacles, etc.), the City is making private and public play- MUNICIPAL ers aware of the benefits of quality in design. Following a major awareness- raising effort from 1995 to 2004 targeting merchants (retailers, restaurant owners, hotel operators, artisans) via the Commerce Design Montréal /60 STRATEGIES program—which it initiated and which has now been adopted by other l MUNICIPAL STRATEGIES ARE ORIENTED cities around the world—the City announced in September 2005 its new AROUND IMPROVING THE CITY’S DESIGN integrated action plan Montréal, Design of the City/City of Design aimed at AND PROMOTING MONTRÉAL AS A CITY OF DESIGN. introducing the concept of design innovation into all decisions and activities affecting the built environment and at intensifying international networking of Montréal design. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR

01 City of Montréal COMMERCE DESIGN MONTRÉAL RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR The Commerce Design Montréal competition is a City of Montréal initiative carried out from 1995 to 2004 in partnership with the Government of Québec and in collaboration with several public and private partners 01 (Tourisme Montréal, Hydro-Québec, MusiquePlus, etc). With its objective of improving the city’s living environment, raising its image and making it more attractive, all in the interests of sustainable development and social l At the close of the 10th Commerce Design Montréal competition in 2004, integration, this program rewarded Montréal businesses that used the an international symposium was organized around the theme New Design services of Québec interior design or architecture professionals to improve Cities. Created in the wake of the partnership with Ville de Saint-Étienne, their establishment. Every year, close to 20 businesses were awarded by a the goal of this symposium was to stimulate dialogue on the various design- jury of experts for the overall quality of their design. l The contest quickly based placement and development strategies implemented by cities like grew with the gradual addition of a number of secondary activities: publi- Anvers, Glasgow, Lisbon, Montréal, New York, Saint-Étienne and Stockholm. cation of a design guide and Web site, series of guided tours, street theatre, l At the end of a request for proposals issued to key Montréal design agen- press relations, public votes, etc. These activities helped Commerce Design cies, continuation of the commercial design enrichment program started by /61 Montréal constantly expand its influence among both the public and mer- the Commerce Design Montréal contest has now been entrusted to the part- chants. For example, over 58,000 people took part in the People’s Choice ner organization, Communication Design Montréal, a non-profit operation in 2004, demonstrating that the initially proposed objectives of outreach and founded by Bruno Gautier, president of Éditions Infopresse, with the mission social inclusion had been achieved. The various tools and strategies imple- of promoting the cultural, economic and social interests of stakeholders in mented over the years were also used to constantly promote the winning the communication and design sectors. businesses, raise the consciousness of the public so it would demand more RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR of design quality, confirm and enable the emergence of Québec design talent and establish Montréal’s position as a young design metropolis. l Commerce Design Montréal’s impact was recognized in 2002 when the City of Montréal was given an Outstanding Achievement Award, grand prize in all International Downtown Association categories, for its structuring, inno- vative, mobilizing and reproducible nature. Montréal has been actively exporting its concept abroad since 2003. Three complete or partial licences have been granted at the request of the Ville de Saint-Étienne and Cham- bre de commerce et d’industrie de Lyon, in France, and the Times Square District in New York City.

01 David Smith MONTRÉAL 2025 MODEL: SECURING CITIZEN BUY-IN RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR CITY The municipal government has developed a unique tool to ensure OF MONTRÉAL that residents can take part in Montréal’s growth. The virtual model URBAN PLAN and some 100 fact sheets found at RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR ville.montreal.qc.ca/montreal2025, Initiated at the Montréal Summit in June 2002 and adopted by City Council are remarkable means for under- in November 2004, the City of Montréal Urban Plan is the outcome of a standing and building a society. l major consensus-building effort among elected officials, representatives The City of Montréal presents the from all boroughs, the municipal government, sector stakeholders, muni- evolution of the projects initiated cipal services and, more generally, Montréalers who had the chance to by the City, governments, public express their concerns and wishes during public consultations. The Plan institutions, organizations or busi- describes the design vision for developing Montréal lands. Besides recom- nesses to secure citizen buy-in /62 mending strategic directions, it includes a series of means for implement- and stimulate public debate. The ing them. It also provides for systematic, transparent monitoring of this population can now monitor the implementation via an annual assessment report submitted by a City Council progress of the work and use a commission every spring for public examination. l The City of Montréal window designed expressly for that has set up various advisory bodies such as the Conseil du patrimoine, 01 purpose to send in their comments. Comité d’architecture et d’urbanisme and Office de consultation publique A strategic and tactical task force, de Montréal to encourage participatory democracy and support implemen- formed of professionals working tation of the Urban Plan. l In 2004, the Canadian Institute of Planners for the City, then coordinates and bestowed its award for Planning Excellence in the Urban Design category responds to the citizens. l on the City of Montréal for the quality of its Urban Plan as a planning docu- Facilitating the dialogue between ment that is accessible, appropriate and facilitates the crucial connection the city and its citizens, Montréal between urban planning and action. 2025 enriches the urban develop- RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR ment process and will guarantee that Montréal has the best quality of life in North America by 2025. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR

01 City of Montréal 09/22/2005: MONTRÉAL LAUNCHES ITS DESIGN ACTION PLAN RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR “But why is Montréal so interested in design? Because we, in Montréal, are convinced that design plays a key role in the city’s social, cultural and eco- nomic growth. Design, beauty and creativity are important elements that set Montréal apart from other cities of the world and attract tourists, new residents and businesses. Given the global competition among cities, the City of Montréal’s design action plan will play a strategic role in enhancing the city’s image and identity, making it more attractive, improving the per- formance of its economy, developing a sense of pride and improving its inhabitants’ quality of life. Our administration has taken a high-profile posi- tion in favour of a quality living environment. It is one of the main objectives of the Urban Plan and of all sector-based plans adopted since. On all MONTRÉAL, fronts, we emphasize that design is one of the elements necessary to improve the quality of life and—I might add on this car-free day—sustain- DESIGN OF THE CITY/ able development.” RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR CITY OF DESIGN STÉPHANE HARBOUR, Mayor of the Borough of Outremont Member of the Montréal Urban Community Executive Committee INTEGRATED ACTION PLAN RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR /63 l BEING NAMED A UNESCO CITY OF DESIGN WILL PROVIDE “Our new action plan Montréal, Design of the City/City of Design was part OUTSTANDING LEVERAGE TO FACILITATE IMPLEMENTATION of the economic development strategy that I made public last June. It is an OF THE CITY OF MONTRÉAL’S INTEGRATED ACTION PLAN essential element of the game plan entitled Imagining – Building Montréal l IMPLEMENTING THE INTEGRATED ACTION PLAN WILL 2025, which the Mayor launched a week ago. It is an important step in ENABLE THE CITY OF MONTRÉAL TO PLAY A STRUCTURING acknowledging design as a means of improving quality of life and as a vec- ROLE IN THE DEVELOPMENT OF THE UNESCO CREATIVE tor for growth. Our objective is now to strengthen Montréal’s reputation as CITIES NETWORK a city of design, by aggressively promoting our achievements in the field of city design – on the local and international scenes. The city of Montréal intends to focus on its first design responsibility … the city itself. We wish to set an example by remaining true to ourselves, as city leaders, clients and design promoters, in all our actions.” RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR ALAN DESOUSA, Mayor of the Borough of Saint-Laurent Member of the City of Montréal Executive Committee, responsible for economic development, sustainable development and the Montréal 2025 project RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Extracts from speeches given by STÉPHANE HARBOUR and ALAN DESOUSA during the launch of the integrated design plan: Montréal, Design of the City/City of Design on September 22, 2005 RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR OBJECTIVES AND COMPONENTS The Montréal, Design of the City/City of Design action plan has two key RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR objectives: Montréal’s development as a centre of design excellence is structured RRR Improve Montréal’s “design of the city”. around the implementation of a design action plan aimed at working with RRR Strengthen Montréal’s position as a “city of design”. municipal and government stakeholders to “make the city better” while These objectives can be achieved in partnership with the stakeholders help- also helping, through a variety of partnerships and networks, to assert ing to build the city and those helping promote and disseminate design. Montréal’s national and international leadership as a “city of design”. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR IMPROVING MONTRÉAL’S DESIGN OF THE CITY With its various components, this design action plan fits within the integrat- is a common goal of many municipal plans, strategies and policies: ed vision Montréal wants to promote by helping create knowledge and RRR ECONOMIC DEVELOPMENT STRATEGY: “The City will support enhance local know-how, by inspiring and stimulating creation in all disci- design innovation to improve the quality of public spaces and the plines associated with city design (architecture, urban design, landscape built environment.” /64 architecture, etc.) and by helping get the word out to the world about the RRR URBAN DEVELOPMENT PLAN: “The City will support the develop- City of Montréal and its creators. ment of a broader culture of quality, excellence and creativity in urban RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR planning and architecture.” Another goal of this design action plan is to organize the development of a RRR HERITAGE POLICY: “The City must use all necessary means to shared forward-looking vision, which is conveyed by, among other things, become an exemplary property and promote the improvement of the organization of a rallying point: an urban design forum to outline plans quality of the living environment.” for Montréal in the coming decades and to highlight, at regular intervals, RRR CULTURAL DEVELOPMENT POLICY: “The City is committed to the design-related activities being carried out by the City of Montréal and better integrating design into its practices while continuing its effort its partners. to promote design to its institutional and private partners.” RRR STRATEGIC SUSTAINABLE DEVELOPMENT PLAN: “The City will implement an ‘ecosustainable’ industrial design contest to revitalize creation and promote best practices while helping publicize Montréal’s influence as a city of design.” RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR THIS OBJECTIVE IS ALSO AN INTEGRAL PART OF THE IMAGINING — BUILDING MONTRÉAL 2025 — A WORLD OF CREATIVITY AND OPPORTUNITIES PLAN, LAUNCHED IN SEPTEMBER 2005. “Montréal’s goal is to assert itself as one of the most attractive cites in the world because the quality of the living environment is a critical success factor for world-class cities in the 21st century. So, to make Montréal an outstanding place to live, the City will pay more attention to design and the quality of urban planning, all in the interests of sustainable development.” RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR ASSERTING MONTRÉAL AS A CITY OF DESIGN is an objective validated by the ongoing activities of the past 20 years, publication of the Picard Report in 1986, which acknowledges design as a top-priority development sector, and implementation of the International Design Alliance in Montréal in 2005: MONTRÉAL: 20 YEARS OF SUSTAINED DESIGN ACTIVITY RRR 1986 Rapport Picard “WE ARGUE THAT THE EMERGENCE OF A STRONG RRR 1986 Picard Report INSTITUTIONAL BASE IS A MAJOR REASON FOR RRR 1989 Salon international en design d’intérieur (SIDIM) PROMINENCE OF DESIGN IN URBAN POLITICAL DISCOURSE /65 RRR 1991 Commissariat au design de la Ville de Montréal IN MONTRÉAL AND FOR THE SUCCESS OF THE DESIGN RRR 1993 Institut de design Montréal SECTOR IN THE CITY.” RRR 1995 Commerce Design Montréal Competition DEBORAH LESLIE, University of Toronto / NORMA M. RANTISI, Concordia University RRR 1998 La commande publique en architecture, en art et en design — Symposium RRR 2004 New Design Cities — Symposium RRR 2005 International Design Alliance/Montréal RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR THE MONTRÉAL, DESIGN OF THE CITY/CITY OF DESIGN ACTION PLAN HAS THREE KEY COMPONENTS: RRR Implement a co-ordinating and expertise unit, the Design Montréal action group with various functions: experimentation, awareness- raising activities, training, promotion. RRR Hold a forward-looking structuring communication event. RRR Build diversified networks at the local, regional, national and international levels. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Defining itself as a laboratory of innovation, Design Montréal fixes its activ- ities firmly in the Montréal reality, building an expandable partnership with interested boroughs and targeting a certain number of various types of urban projects that become sites for trying out new effective processes and practices. From year to year, all these projects serve to showcase how RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR the City’s design has improved and to reinforce Montréal’s position as a CO-ORDINATING AND EXPERTISE UNIT: city of design. DESIGN MONTRÉAL ACTION GROUP RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR “Montréal has demonstrated its creativity on some notable projects in the To help it in its work, Design Montréal has set up two advisory committees: past, but design quality must now become the City’s signature on its own an internal “city design” committee, made up of project managers, and a urban planning and development activities and be expressed in all of its “city of design” external committee, made up of representatives of city boroughs. To do that, we initiated in September 2005 an integrated design organizations involved in design promotion and awareness (Institut de action plan with two key goals: improve the design of the city and strengthen Design Montréal, Centre de design de l’UQAM, SIDIM, Communication Montréal’s position as a city of design. To implement this action plan, the Design Montréal, etc). municipal administration formed last January the Design Montréal action RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR group, a co-ordinating and expertise unit that has three key functions: FORWARD-LOOKING, coaching, communication and networking.” STRUCTURING COMMUNICATION EVENT RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR As was done in the Commerce Design Montréal contest and following the Extract from a speech made by MR. BENOIT LABONTÉ, example of other dynamic cities, Montréal’s approach is to tie its activities Mayor of the Borough of Ville-Marie and Member of the City of Montréal Executive Committee, concerning the city’s design as tightly as possible to structuring communi- /66 responsible for Culture, Design and Heritage announcing the implementation of DESIGN MONTRÉAL cation activities. That makes the event a key component of urban life and during the launch of Créativité Montréal on March 9, 2006 enables the development of a shared vision of the city’s future, the act of RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR “communicating” being the very foundation of the process of making the To apply its action plan and create the required partnerships, the City of city, in direct connection with the act of “designing.” Montréal has set up a co-ordinating and expertise unit called Design RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Montréal, whose role is based on the power of conviction and the opting in of Consequently, Design Montréal is the organizer of a forward-looking event: its partners, all to support and complement existing administrative control. a large urban forum that helps outline plans for Montréal in the coming RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR decades and that highlights the implementation of the design action plan Design Montréal’s activity, which is interdisciplinary, is very often carried by the City and its partners. A report on past activities and current projects out in partnership with private businesses, promotional organizations and forms the main program for this public event open to all: elected officials, Montréal research centres and has many functions: design order coaching, promoters and citizens, managers, creators and researchers, from both guide publication, training seminars, competition and workshop organiza- here and abroad. tion, promotion and dissemination of best practices and communication RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR and outreach activities. The frequency at which this event is to be held remains to be determined (every three or five years); however, to stimulate and maintain Montréalers’ interest, communication activities are programmed cumulatively during the years preceding the editions of the event. To mark the kick-off of this inno- vative rally, communications will gradually be sent out starting in 2006 with the preparation of a directory of Montréal’s best practices in design. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR LOCAL, REGIONAL, NATIONAL AND INTERNATIONAL NETWORKING The main goal of national and international networks is to help promote Montréal as a city of design, thereby helping make the City more attractive to tourists and foreign businesses while enabling the development of out- RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR side markets for Montréal’s design creators. A fundamental challenge of today’s corporations is to build dynamic, RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR visionary partnerships crossing various levels of governance and between Also, a network at the Montréal level will help to put together from among all players in a particular sector. The value of a sector such as design is that existing personnel a team of agents involved in design promotion, “champi- it integrates cultural, economic, social and environmental issues and that it ons of design”, in each borough, people who can convey Design Montréal’s is connected to many other spheres of activity such as tourism, production directions. A formula inspired by the United Kingdom, these “champions of or marketing. As a result, the success of the City of Montréal’s design design” work in interested boroughs to promote design quality and prepare action plan will depend on the expanded partnership to be formed and, a design action plan for their boroughs. with regard to that, the UNESCO Creative Cities Network is an outstanding RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR platform for promoting Montréal’s design activities and sharing lessons To strengthen its national leadership role, Montréal will set up a “Mayors learned in its action plan with the Network’s other members. /67 Institute to Improve Design in Cities”, based on the Mayors’ Institute on RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR City Design model, which has existed in the US since 1986 and whose goal MONTRÉAL’S INTEGRATED DESIGN ACTION PLAN is to improve design and quality of life in American cities by drawing on the WILL STRATEGICALLY HELP: efforts of their elected officials, mayors. Based on the case study and the RRR improve its inhabitants’ quality of life organization of training seminars, the Institute will first start working at the RRR boost the City’s image and identity borough level and then move on to the regional and national levels. The RRR make it more attractive Institute also provides leverage for developing new collaborative efforts RRR improve its economic performance with American cities. RRR assert its leadership as a centre of design excellence RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Internationally, the City is benefiting from large international meetings to position itself as a city of design, promote the skills of Montréal design pro- fessionals and help develop markets in Europe, Asia and the Americas. Montréal is also actively involved in developing new networks of cities such as the UNESCO Creative Cities Network. SEEKING DESIGNATION MONTRÉAL AS A UNESCO CITY OF DESIGN RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Montréal, active and inventive, are powerful terms of sustainable economic and social development for this metropolis turned resolutely towards the 21st century and open to a diversity of cultures and ideas. On the strength of the human commitment of a network of creators and cultural institutions acting both locally and globally, Montréal stands out for its design leader- ship. Creation of the Design Montréal municipal action group in 2005, the MONTRÉAL, presence of many public and private groups and partnerships eager to pro- mote, publicize and get involved in design (e.g. UQAM Centre de design, Société des arts technologiques, Institute of Design Montréal), and the ACTIVE implementation of structuring public strategies and policies (e.g. City of /69 Montréal Cultural Policy and Sustainable Development Policy) are the bril- liant expression of design innovation serving development and a quality of AND 01 “living together”. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Montréalers’ culture and identity, embedded in the “here and now”, repre- INVENTIVE sent a vision of the future and a structuring group of resources, knowledge and active individuals committed to their community and fully aware of global issues. Three key attributes also underpin the foundations of this concept of Montréal—A Creative City:

01 UQAM Centre de design RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR MONTRÉAL, A CITY OF MANY. Montréal’s creative potential is intimately tied to the First Nations and immigrant roots that have shaped its living l Consequently, Montréal’s current and future commitment, built around environment, its many landscapes, its streets, its architecture, its interiors the Design of the City/City of Design project, is to recognize design as a and its art of making design. Cultural plurality is the heart and soul that unifying, unfailing tool of sustainable economic development, social inte- always accompanies this city’s designs and that is very evident in its gration, quality of life, cultural diversity and urban well-being. This commit- contemporaneousness. Its hybrid linguistic identity (anglophone and ment for decades to come is being driven by a strong desire to democra- francophone), its unique blend of cultural influences from Europe and tize design. Also, far from relegating design to the restricted circle of an America, and its character as a cosmopolitan city open to the world, set elite and limiting its activities to serve form—or even spectacle—alone, this Montréal apart as a city of cultural diversity. This conveys a powerful ability commitment provides further impetus to the openness of design as a proj- to innovate, as evidenced by the leadership of its creators, the variety and ect useful and essential to the economy, the environment, the quality of the originality of its cultural productions and design projects, and the quality of city’s ordinary day-to-day living environment and the promotion of a human its institutions of higher learning. This outstanding human capital is the key space that resonates directly with other cultures. vector of this crucible of creativity. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR MONTRÉAL, A CITY OF DIALOGUE. Drawing on an extensive network of MONTRÉAL, A CITY EMERGING. Calm in the face of today’s globaliza- partners actively involved in design and creation (e.g. creators, academics, /70 tion, Montréal takes an inventive approach to today’s urban conditions. public and private institutions, professional associations, mutual interest Firmly rooted in its cultural, social and economic differences, Montréal is, groups), Montréal offers a unique, cohesive platform that generates structur- above all, the crazy desire to live the amazing experience of daily life in the ing, innovative and enabling activities. Backed by international awareness streets, be they landscaped boulevards, shopping promenades or festival and recognition of the initiatives and knowledge resulting from these espe- sites, both summer and winter. It is no accident that the Montréal land- cially constructive local and regional networks (e.g. Canadian Centre for scape creates, especially, expressive figures of its interiors in the image of Architecture, UNESCO Chair on Landscape and Environment, Commerce Commerce Design Montréal, which has been developing for over more Design Montréal, Centre de design de l’UQAM), it is well positioned today than a decade on its territory. Montréal’s intention is not a quest for monu- as the leader in municipal strategy promoting design and, more broadly, as mental works, superstar-architectures, to look like so many other cities a city of exemplary projects involved heavily in transferring knowledge around the world, but rather projects that requalify its living spaces year abroad—especially to emerging or developing countries. Its collaborative round. It is the challenge of this emerging city of creativity, this spirit that networks connect the Americas, Europe, Asia and Africa into a singularity finds clear expression in the constant renewal of what is, in terms of both —one of open dialogue with the world because therein lie its origins. its formal qualities, social and cultural matrix and governance, the logic of RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR projects and experiments. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR UNESCO CREATIVE/DESIGN CITIES NETWORK — CONVERGENCES AND PERSPECTIVES The unique synergy among the key players in Montréal design, the struc- turing and consistent nature of the promotional, awareness-raising and public activities carried out, and the quality of the human capital available RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR place Montréal in a solid position to confront the challenge of sustainable Clearly, forming an alliance of UNESCO Design Cities is a unique opportu- development for cities. To do that, it relies on unique, exceptional public nity for asserting the leadership of this centre of local, national and interna- knowledge that helps renew and democratize the design project culture. tional design excellence. Relying on lessons learned, the structuring nature RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR and solidarity of its network of players and institutions, and the pioneering Two key types of leverage now set Montréal’s structuring action apart as a activities it has at its disposal (e.g. Design Action Plan), Montréal will make centre of international design excellence. They represent new areas of poten- a significant contribution to the network of UNESCO Design Cities. tial supporting strong alliances to be formed with the new design cities. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Montréal’s commitment, coupled with the dedicated energy of the key UNIQUE, ACTIVE INSTITUTIONS. Montréal has a diverse, growing net- players in design (creators, professionals, academics, etc.), has political work of public institutions, at the municipal, university, mutual interest and will backed by proactive elected municipal officials convinced of this private levels, that are helping enhance local action, emulate productive cross-functional area of activity. /71 synergies and partnerships, and export knowledge and know-how interna- RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR tionally. Developing particular and complementary kinds of expertise, this Consequently, joining the alliance of UNESCO Creative/Design Cities network of institutions and actors is a local and global reference centre for makes for a unifying, consistent project founded on the emulation of highly new, original and cutting-edge types of public action. qualified professional resources, experiments with the project’s processes, RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR professional, political and social coaching of activities, promotion of best INNOVATIVE PROJECTS. Finally, Montréal is a veritable laboratory of proj- practices, as well as high-level co-operation and the sharing of knowledge ects whose spin-offs are especially valuable as examples and demonstra- and know-how. tions. Structuring public initiatives that rely, in some cases, on participation RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR that is voluntary, bottom-up and reaching all of the city’s sectors (e.g. Source: PHILIPPE POULLAOUEC-GONIDEC and SYLVAIN PAQUETTE, holder and researcher respectively, requalification of the city’s normal living environments) can be implemented Université de Montréal UNESCO Chair on Landscape and Environment for the greater benefit of both urban players and stakeholders and for all of civil society. These processes unquestionably make Montréal a sustainable platform for the economic and social development of the city of today. Once again, they demonstrate this city’s powerful potential as a model of the use of creativity in implementing projects, partnerships, coaching activities and multiple, innovative programs. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR PUBLIC-SECTOR REPRESENTATIVE RRR Benoit Labonté Mayor of the Borough of Ville-Marie, member of City of Montréal Executive Committee responsible for Culture, Design and Heritage and the Downtown RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR PRIVATE-SECTOR REPRESENTATIVE RRR Bruno Gautier President of Éditions Infopresse and Communication Design STEERING Montréal, City of Montréal RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR COMMITTEE partner (see page 96 and 120) CONTACT PERSON MONTRÉAL, RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRR Marie-Josée Lacroix UNESCO CIVIL SOCIETY SECTOR Design Commissioner and CITY OF DESIGN REPRESENTATIVE Director of Design Montréal, RRR Anne-Marie Jean City of Montréal General Manager of Culture RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Montréal (see page 37) RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR DESIGN PROFESSIONAL RRR Geneviève Angio-Morneau A young designer for a major Montréal design firm, she works on museum design projects in Canada (Québec and Ontario) and abroad (Singapore) and was also involved in design promotion as organizer of the New Design Cities symposium in 2004. RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR WITH THE HELP AND SUPPORT OF: RRR Director, École d’architecture, RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Université de Montréal Under the political governance RRR Julie Arcand of Gérald Tremblay, Mayor of Communication Manager, Montréal, and Benoit Labonté, Direction des communications Mayor of the Borough of Ville-Marie et des relations avec les and member of the City of Montréal citoyens, Ville de Montréal Executive Committee, responsible RRR Arnold Beaudin for Culture, Design and Heritage, Director of Planning and as mandated by the City of and Strategic Operations, Montréal Executive Committee, Service de la mise en valeur this application was prepared by: du territoire et du patrimoine, RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Ville de Montréal the Design Montréal team from RRR Martine Canuel the Direction de la planification Computer Graphics Designer, et des interventions stratégiques, orangetango Service de la mise en valeur du RRR Jean-Robert Choquet territoire et du patrimoine de la Director of Cultural CREDITS AND Ville de Montréal: Development and Libraries, ACKNOWLEDGEMENTS RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Service du Développement /73 RRR Béatrice Carabin culturel, de la qualité du milieu Design Consultant, de vie et de la diversité ethno- Design Montréal culturelle, Ville de Montréal RRR Denis Lemieux* RRR Marc H. Choko Architect, Architectural Full professor, École de design, Consultant, Design Montréal Directeur du Centre de design RRR Mario Brodeur de l’Université du Québec Architect, Consultant à Montréal RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRR Guy De Repentigny under the direction of: Manager, Analysis and RRR Marie-Josée Lacroix Marketing Division, Direction de Design Commissioner, la planification et des interven- Director of Design Montréal tions stratégiques, Service de la RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR mise en valeur du territoire et du * Architecture, Landscaping and Sustainable patrimoine, Ville de Montréal Development Consultant at Ministère de la Culture RRR Jacques Des Rochers et des Communications du Québec and on loan to Canadian Art Curator, the City of Montréal Montréal Museum of Fine Arts RRR Yanick Giroux Graphic Designer, orangetango RRR Richard Lafontaine Secretary of DOCOMOMO RRR Philippe Poullaouec-Gonidec Québec Holder of Université de RRR Chantal Langelier Montréal UNESCO Chair on Planning, Analysis and Landscape and Environment Marketing Consultant, RRR Isabelle Rousseau Direction de la planification et Project Manager, orangetango des interventions stratégiques, RRR Marc Tremblay Service de la mise en valeur Assistant General Manager, du territoire et du patrimoine, Service de la mise en valeur Ville de Montréal du territoire et du patrimoine, RRR Sylvie Laniel Ville de Montréal Project Manager, Ministère RRR Emmanuelle Vieira des Affaires municipales et Design and Architecture des Régions du Québec Writer and Reporter RRR Mario Mercier RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Creative Associate, The City of Montréal would orangetango especially like to thank the following RRR Christopher Olson organizations for their active support Translator in preparing the application: RRR Jean-Charles Panneton RRR Centre de design de l’Université Planning, Analysis and du Québec à Montréal Marketing Consultant, RRR Université de Montréal Direction de la planification et UNESCO Chair on Landscape des interventions stratégiques, and Environment Service de la mise en valeur RRR École d’architecture de du territoire et du patrimoine, l’Université de Montréal Ville de Montréal RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRR Sylvain Paquette Data sources: Unless otherwise indicated, the texts Researcher, Université de describing the groups, institutions or other organiza- Montréal UNESCO Chair on tions were taken from their Web site. Most of the Landscape and Environment designers’ profiles come from a document accompa- RRR Robert Paré nying the Main Design 2004 exhibition prepared Marketing Division Manager, by Centre de design de l’Université du Québec à Direction des communications Montréal. Finally, some of the data on Montréal come et des relations avec les from Montréal’s application to secure the head office citoyens, Ville de Montréal of the International Design Alliance, prepared by RRR Michèle Picard Montréal International in 2005. Political Advisor, RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Ville de Montréal SINCERE THANKS TO RRR Claude-Armand Piché EVERYONE WHO HELPED OUT. Planner, Heritage Presentation Programming, Parks Canada APPENDIX EGO, September / October 2005

METROPOLIS, October 2005 VOIR LA VILLE, September, 29 2005