CULTURAL

QUARTERS Document presented to the Commission sur la culture, le patrimoine et les sports

Direction de la culture et du patrimoine SEPTEMBER 2011

CONTENTS

FOREWORD by Helen Fotopulos 4

1. INTRODUCTION 6 1.1 A Propitious Environment 7 1.2 Approach 7 1.3 Outlook 8

2. MONTRÉAL’S POLITICAL AND ADMINISTRATIVE FRAMEWORK 10 2.1 General Presentation 11 2.2 Local Authorities and Decision-Making Bodies 11 2.3 Sharing Local Responsibilities and Cultural Quarters 12

3. BACKGROUND 14 3.1 Cultural Poles 15 3.2 From Cultural Pole to Cultural Quarter 15

4. STUDY 18 4.1 The Cultural Quarter Concept: From Theory to Practice 19 4.2 Public Policies 23 4.3 Identifying Cultural Quarters 30 4.4 The Cultural Quarter Concept for Montréal 35 4.5 Needs and Expectations 35

5. AREAS FOR FURTHER STUDY 38 5.1 Local Cultural Activities 39 5.2 Event Promotion and Organization 39 5.3 Planning Programs and Transportation 41 5.4 Capital Investments 43 5.5 Management and Coordination 44

6. CONCLUSION 46

7. BIBLIOGRAPHY AND APPENDIX 48 Bibliography 49 Appendix 50 FOREWORD

4 Since it came to office in November 2011 and especially after the June 2002Montréal Summit, our administration has been acquiring tools to make culture a core component of citywide development. These tools include the Cultural Development Policy, the Heritage Policy, the 2007-2017 Montréal Cultural Metropolis Action Plan, an assessment of Montréal’s public library system (Diag- nostic sur le Réseau des bibliothèques publiques de Montréal), the designation “Montréal, UNESCO City of Design,” an assessment of the réseau Accès culture and the 2010-2014 Action Plan (Diagnos- tic sur le réseau Accès culture and the Plan d’action 2010-2014) and the Public Art Policy. With the eagerly awaited this fall of the Adresse symphonique concert hall and the Mon- treal Museum of Fine Arts’ Claire and Marc Bourgie Pavilion, this is an excellent time to:

Note that a cultural metropolis must focus great attention to its downtown core and its local neighbourhoods. Present you with our document on Cultural Quarters!

This document results from two years of intensive study and consultation. We are publishing our findings not only to share them with you, but to fortify and stimulate the ideas of residents and orga- nizations dedicated to high-quality development of our local neighbourhoods and our boroughs. Rather than proposing a generic model, we hope to fuel ideas for promoting the cultural enrichment of our communities. Such enrichment will draw on our communities’ histories, heritage and distinctive characteristics, along with their identities and the projects that inspire them. This document presents just a few of the many and wide-ranging perspectives on these issues! I certainly hope that you will take the opportunity offered by the sessions of the Commis- sion sur la culture, le patrimoine et les sports not only to begin or to pursue your own thinking on this topic, but to give us your feedback. Montréal and all of its population will benefit from your collective efforts!

Helen Fotopulos Executive Committee Member Responsible for Culture, Heritage, Design and the Status of Women Rather than proposing a generic model, we hope to fuel ideas for promoting the cultural enrichment of our communities.

5 1 INTRODUCTION

6 A PROPITIOUS ENVIRONMENT APPROACH

With implementation of the Quartier des spectacles project—which itself builds on enhancements to The Cultural Quarters project’s mission is founded in Commitment 30 of the city’s Cultural Devel- Old Montréal, the formulation of a new urban development plan for Montréal, the Québec Govern- opment Policy : “. . . to enrich the ability of Montréal’s to appreciate art, culture and heritage ment’s upcoming adoption of its Agenda 21 for Culture and the establishment of a worldwide network throughout the city as well as in its downtown core and to build on Montréal’s reputation as a of creatively oriented cities, the time is ripe for integrated “glocal”1 approaches to development. cultural metropolis in keeping with the identities and environments of the targeted sectors.”3 The Cultural Quarters project, with its broad goal of enriching the entire city’s cultural life, is part This document, directly derived from the Policy and Action Plan issued following Rendez- of this integrated urban planning effort2 and is spurring new opportunities for cultural development. vous November 2007 — Montréal, cultural metropolis, discusses the opportunities for and feasibility The project that was first developed in 2005 under the name “Cultural Poles” has moved on of enhancing and developing Montréal’s cultural quarters. beyond the more narrowly defined development of arts and culture to acquire a richer, more varied and decentralized focus. While continuing to promote traditional artistic and cultural values (education, creation, To enrich the ability of Montréal’s to appreciate art, production, distribution and preservation), the Cultural Quarters project also embraces the diversity of our population, nature, local lifestyles, tangible and intangible heritage, public culture and heritage throughout the city as well spaces, social meeting points, businesses, teaching and science, by drawing on a vast number as in its downtown core and to build on Montréal’s of local resources in many different areas of activity. These cultural quarters will become unique reputation as a cultural metropolis. and multi-faceted urban cultural spaces.

1 “Global” + “local” = “glocal.” Many observers believe that “glocalization” results from the Internet’s impact on globalization. 2 Integrated urban development means strategies that draw on all environments and situations. 3 Montréal (2005). Politique de développement culturel 2005-2015, p. 62.

7 The assessment process resulting in different approaches to these issues includes: OUTLOOK 1 A brief review of the political and administrative context in which the Cultural Quarters project has evolved. What will this effort yield? First, an ever-growing number of local stakeholders will sign on to the 2 Updates the “cultural quarter” concept based on the existing literature and various local Cultural Quarters project, spurring broad-based initiatives to democratize culture, in keeping with and other experiences. the Cultural Development Policy. 3 Assesses the city’s Cultural Quarters project policies and strategies. 4 Lists “existing” and “planned”4 cultural quarters based on observable grassroots realities. Two specific short-term goals are: 5 Defines the “cultural quarter” concept for Montréal. Presenting the progress of this project, which emerged from the 2007-2017 Montréal 6 Itemizes needs and expectations mentioned by the boroughs and partners from social Cultural Metropolis Action Plan at the plan’s mid-term meeting in the fall of 2012. and professional organizations. Thoughts and actions pertaining to cultural quarters could make a major contribution to Next, the results of this assessment process will be presented by the Commission sur la culture, work that will result in the 2013 adoption of the new Montréal Urban Development Plan. le patrimoine et les sports, so that it may be shared with residents so that they may consider it in greater detail. The key to this effort is making residents and visitors more attuned to and interested in the cul- We have accordingly identified more than 30 areas for further study of resources consid- tural resources of Montréal and its local neighbourhoods. ered necessary for facilitating the consolidation and development of cultural quarters. These areas pertain to local cultural activities, event promotion and organization, planning, transportation and capital investments, as well as the management and coordination of future cultural quarters.

Making residents and visitors more attuned to and interested in the cultural resources of Montréal and its local neighbourhoods..

4 We put quotation marks around the terms “existing” and “planned” because of our difficulty providing a more specific description of the status of neighbourhoods to which they refer. Both words are discussed in section 4.3 (Identification of cultural quarters).

8 9 MONTRÉAL’S POLITICAL AND ADMINISTRATIVE 2 FRAMEWORK

10 2.1 GENERAL PRESENTATION

The city has consisted of 19 boroughs since January 1, 2006. Each borough has its own population mix and geographic, historic, demographic, socioeconomic and cultural features. The Island of Montréal’s municipal organization is complex and reflects its different con- stituent entities. Responsibilities are divided among the City Council, the borough councils and the Urban Agglomeration Council, which represents the island’s related municipalities. Further detail on the local powers and authorities of the City Council and the borough councils is important in understanding the Cultural Quarters project’s passage through the city administration. The Urban Agglomeration Council, on the other hand, has no direct impact on the project at this stage.

2.2 LOCAL AUTHORITIES AND DECISION-MAKING BODIES

2.2.1 CITY COUNCIL The City Council is Montréal’s primary decision-making body. It consists of Montréal’s mayor and 64 city councillors, 19 of whom are borough mayors. The Charter of Ville de Montréal5 (Loi sur les cites et villes) grants special powers to the City Council in such areas as:

Urban and land-use planning. The city’s corporate and central departments are responsible for formulating a comprehensive Economic promotion, community, cultural, economic, social and environmental Montréal-wide approach to culture, recreation, leisure and parks. As part of this process, the development and transportation. Direction de la culture et du patrimoine supports boroughs seeking to enhance and develop their Waste collection and recycling. cultural quarters. Culture, recreation and parks. Social housing. 2.2.2 BOROUGH COUNCILS The municipal road system. The borough mayor and at least five other city councillors sit on the borough council. The borough Water treatment. has local responsibilities pertaining to community-based services. As listed in Montréal’s 2011 The police and fire departments. Budget, these responsibilities include:6 Towing and municipal vehicle repair. Municipal Court. Urban planning. Regulation of construction, nuisances and hygiene. The City Council is responsible for the management of certain parks and of specific cultural, sports Management of main and local roads. and recreational facilities. Such parks include Mount Royal, Jean-Drapeau, Maisonneuve, Jarry and Local sports and recreational facilities. La Fontaine. The cultural facilities comprise the Centre d’histoire de Montréal, the Pointe-à-Callière Local libraries. Montréal Museum of Archaeology and History, the Lachine Museum, the Espace pour la vie (Botani- Local parks. cal Garden, Insectarium, Biodôme and future Planetarium). Local economic, community, cultural and social development. Heritage.

5 The Charter of Ville de Montréal (Loi sur les cites et villes, L.R.Q., chapitre C-19) can be found at: www2.publicationsduquebec.gouv.qc.ca/dynamicSearch/telecharge.php?type=2&file=/C_11_4/C11_4.html 6 Montréal’s 2011 Budget : ville.montreal.qc.ca

11 With respect to culture, the Charter of Ville de Montréal states that the “The borough council shall 2.3 SHARING LOCAL RESPONSIBILITIES exercise the jurisdiction of the city in respect of the parks and the cultural, sports and recreational AND CULTURAL QUARTERS facilities situated in the borough”7 (except those administered by the corporate departments). Borough councils can also formulate opinions and made recommendations to the City Council on As previously mentioned, culture is considered to be a community-based service and falls under the budget, budget priorities, preparation or modification of the urban plan, amendments to urban borough authority. The Direction de la culture et du patrimoine is responsible for planning and pro- planning by-laws and on any other topic that it deems appropriate.8 The following section outlines moting coordinated activities according to the guidelines it has defined. These guidelines are listed the boroughs’ important role in the Cultural Quarters project. in the Cultural Development Policy that the City Council adopted in 2005, following a collective effort with the boroughs and a public hearing. The Direction de la culture et du patrimoine can support the boroughs in developing cer- tain projects with financial assistance programs and other financial incentives. With respect to the city’s library system, for example, the boroughs can formulate projects under the Programme de rénovation, d’agrandissement et de construction de bibliothèques publiques (RAC or public library construction, expansion and renovation program). The Entente sur le développement culturel de Montréal (Montréal cultural development agreement), jointly funded by the city and the Ministère de la culture, des Communications et de la Condition féminine (MCCCF-Ville agreement) provides the boroughs with such supplemental resources as the cultural bridge building program, the Forum des équipements culturels and the Fonds du patrimoine culturel québécois. The Cultural Quarters project falls under these shared sets of responsibilities. The central city administration and the boroughs must work together in developing these cultural quarters, since key project components, including citywide dissemination of content, installation of public artwork, presentation of heritage, library services and documents and amateur artistic activities all fall under borough areas of authority. With their specific areas of expertise and financial assistance programs, the Direction de la culture et du patrimoine and the other corporate departments sup- port the boroughs in developing the cultural quarters. The boroughs also have responsibilities in a number of other areas that are important to the cultural quarters, including economic development, community development, urban planning and by-laws that result from these functions. Urban planning and regulation play particularly important roles in implementing the Cultural Quarters project.

The Direction de la culture et du patrimoine can support the boroughs in developing certain projects with financial assistance programs and other financial incentives.

7 Loi sur les cités et villes (L.R.Q., chapitre C-19) : www2.publicationsduquebec.gouv.qc.ca/dynamicSearch/telecharge.php?type=2&file=/C_19/C19.html 8 Ibid.

12 13 3 BACKGROUND

14 Although the subject was discussed in the mid-1980s in terms of cultural trajectories, it has only The Cultural Development Policy recognizes the Quartier des spectacles as Montréal’s most impor- been since the early 2000s that this notion re-emerged in the form of Cultural Poles. We shall briefly tant cultural pole. It is [TRANSLATION] “a pole of access to culture, a pole of innovation and of cul- describe the Cultural Poles project that has evolved into a Cultural Quarters plan and has attracted tural activity and a pole that reconfirms Montréal’s cultural status.”12 special interest, particularly because of its ability to build on and incorporate local characteristics At the Rendez-vous November 2007—Montréal, Cultural Metropolis, various representa- and its potential for responding to Montréal’s cultural development as a whole. tives from the world of culture supported a “cultural metropolis” for everyone. In other words, they supported a metropolis that would invest in the development of arts and of culture throughout its territory. Various organizations and particularly those working in the social economy grouped to- 3.1 CULTURAL POLES gether to create the Coalition pour des quartiers culturels à Montréal by asking the city to launch initiatives that would support artist workshops, as well as cultural bridge building efforts. Following the Montréal Summit, the city set up 19 projects in 2002 to define top-priority programs Section 3 of the 2007-2017 Montréal Cultural Metropolis Action Plan seeks to enrich the for Montréal’s future. Thrust 1 (Montréal, metropolis of creation and innovation, with a window on community’s cultural life. Point 3.7 of this plan gives following goal: [TRANSLATION] “. . . supporting the world) recommended developing cultural poles throughout Montréal as a priority for projects the development of cultural poles throughout Montréal.”13 The recommended approach was to: pertaining to the development of culture, knowledge and innovation. A work group was set up to [TRANSLATION] “. . . formulate a strategy in conjunction with the boroughs and the related munici- give initial thought to the concept of a cultural pole and its definition. This group also teamed up palities to deploy an action plan and to create a network of cultural poles.14 with the boroughs in listing Montréal’s key cultural activities and facilities. In 2004, the city asked Daniel Arbour & Associés (DAA) to assist it in this deliberative pro- cess. The firm submitted a report to the city in 2005 with a definition of the “cultural pole” concept, 3.2 FROM CULTURAL POLE a list of existing poles (based on the results of questionnaires sent to the boroughs) and a municipal TO CULTURAL QUARTER action strategy. On completion of the DAA study, the expression “cultural pole” was defined as a [TRANSLATION] “a pole with access to culture, a pole of creation and of cultural activity or a pole The study by Daniel Arbour & Associés provided additional information on the importance of plan- that confirms Montréal’s status in the field of culture.”9 The borough questionnaires provided a list ning and of enriching cultural development throughout Montréal and of creating a network of cul- of 53 cultural poles complying with that definition. The study concluded that: tural development partners. This study also illustrated Montréal willingness and desire to include culture in such new areas as city planning programs, the environment, economic development and [TRANSLATION] “. . . the concept of a pole only applies if it generates a development, sustainable development. if it identifies the area covered and its boundaries, gives it a personality and an iden- After the study, the cultural pole concept was still unclear to many. Some of the boroughs tity, regardless of the number of concentration of facilities, venues and activities.”10 believed that their entire territory was a cultural pole, while others said that such a pole was limited to a specific cultural facility, such as a performance space. Still others responded that a cultural As we shall see, this definition gave rise to a number of interpretations inconsistent with the emer- pole consisted of a set of cultural facilities. The cultural pole idea was often limited, furthermore, to gence of a common concept in Montréal of a “cultural pole.” the strict functions of cultural creation, education, production and dissemination. For the boroughs The city adopted its Cultural Development Policy—Montréal, Cultural Metropolis in 2005. and cultural stakeholders that gave their opinions on this question,15 a wide range of different and This policy’s 30 commitment pertained to the development of cultural poles and incorporated unclear definitions apply to the term “cultural pole.” included some of the DAA’s perspectives: Despite these issues, the cultural pole concept has served to advance the cultural under- standing of Montréal. While the first two definitions (cultural access pole and pole of innovation [TRANSLATION] “The city will establish a cultural pole strategic action plan to en- and cultural activity) require additional thought that leads to the idea of a cultural quarter, the third, rich the arts, culture and heritage and to raise Montréal’s profile as a cultural me- on the other hand, which confirms Montréal’s cultural status, can help identify specific venues that tropolis. This plan will recommend ways of developing existing poles, along with a correspond to it. This is true with the Cité des arts du cirque, TOHU, which represents Montréal’s program for developing new poles, in conjunction with each of the boroughs and leadership position in international circus arts. The same applies with the Espace pour la vie, which partners concerned.”11

12 Ibid. 9 Daniel Arbour & Associés and Ville de Montréal (2005). Rapport d’étude sur les pôles culturels, p. 13. 13 Ville de Montréal (2007). Plan d’action 2007-2017 – Montréal, métropole culturelle, p. 13. 10 Ibid, p.14 14 Ibid. 11 Ville de Montréal (2005). Politique de développement culturel 2005-2015, p. 63. 15 ocpm.qc.ca/consultations-publiques/politique-de-developpement-culturel-pour-la-ville-de-montreal

15 Since 2005, we have accordingly evolved from a cultural venue used for creation, production or distribution into a multi- faceted urban cultural space.

Development of the Quartier des spectacles,16 which was first announced in 2003 and for which a special urban plan was adopted in 2006, has been another key factor in transform- ing the idea of a cultural pole into that of a cul- tural quarter. The Quartier des spectacles— Live, Create and Enjoy Downtown—paved the way to a new form of urban development in Montréal, based on an existing cultural func- includes the Botanical Garden, the Insectarium, the Biodôme and the future Planetarium (now un- tion that could be nurtured and developed. While the Cultural Quarters project operates on a der construction). While the Quartier des spectacles, Old Montréal and the historic and natural different scale, it can apply the same approach deployed by the Quartier des spectacles if it is borough of Mont Royal are too complex to be primarily defined as cultural poles, they still meet this attuned to local circumstances. definition, the first in terms of the presence of life performance, the second for its tangible heritage A cultural development strategy built around the cultural quarters project would provide and history and the third for its close relationship between nature and culture. broader, more varied and decentralized cultural development in Montréal. In contrast with the cultural central, a cultural quarter is not merely defined by artistic creation, production and dis- semination activities. It also presents and incorporates heritage, architectural, environmental, natural, commercial, ethnic, cultural and scientific elements, while involving a broad cross- section of local partners. Since 2005, we have accordingly evolved from a cultural venue used for creation, production or distribution into a multi-faceted urban cultural space. The Cultural Quarters project will also consolidate and showcase Montréal’s many isolated creative entities. Such creative entities are active in multiple sectors and contribute to Montréal’s cultural and eco- nomic growth and to improving the quality of its residential neighbourhoods.

16 quartierdesspectacles.com

16 The idea of a “cultural quarter” draws on an expanded view of culture, as defined by UNESCO at the 1982 World Conference on Cultural Policies in Mexico:

“. . . in its widest sense, culture may now be said to be the whole complex of distinctive spiritual, material, intellectual and emotional features that characterize a society or social group. It includes not only the arts and letters, but also modes of life, the fundamental rights of the human being, value systems, traditions and beliefs.”17

The cultural quarter concept is part of a new school of thought built around integrated approaches to urban development. This concept includes principles of incorporating mainstream and broad-based movements, partnerships and co-­ventures within a network. It reflects a globalizing and ecosystemic trend, which stands apart from compartmentalized, sectoral and fragmented approaches that have constantly been on the decline, particularly since emergence of the sustainable development model. The cultural pole concept developed into that of the cultural quarter in 2009, based on the Direction de la culture et du patrimoine’s guidance and reference documents.

17 Mexico City Declaration on Cultural Policies : www.unesco.org/new/en/culture/

17 4 STUDY

18 4.1 THE CULTURAL QUARTER CONCEPT: FROM THEORY TO PRACTICE LOCAL EXPERIENCE: NOUVO ST-ROCH, QUÉBEC CITY _1992: Revitalizaction Plan The cultural quarter concept evolved during the 1980s in the United States (especially Pittsburgh) _1993: Development of the Jardin St-Roch garden and renovation of the Dominion Corset plant to accommodate municipal public servants. and then in the United Kingdom with the Sheffield Cultural Industries Quarter and the Manches- _1994: Opening of Complexe Méduse, with the Université de Laval Faculté d’aménagement, ter Northern Quarter. During a post-industrial era in which cities were seeking to restructure their d’architecture et d’arts visuels moving to the former plant. _1996: Building renovation and artist workshop acquisition programs. development and brighten their images, the cultural quarter idea was proposed as a strategy for _1997: ÉNAP, Télé-Université and the Université du Québec’s head office located in the sector. increasing the value of urban space and revitalizing brownfield areas and sectors suffering from -ur _1999: Formulation of a concept plan. _2000: Removal of the mall roof (Phase 2 in 2007) ban decay. Cities no longer see themselves as heavy industrial structures, but as living, dynamic and _Master plan of the project adopted in 2008 ($300,000 from the La Cité borough). evolving systems incorporating activities that must become better integrated. In many cases, the _Investment in municipal infrastructure. _Property investments by Groupe Geneviève Miron. cultural quarter goal was to improve local living environments, while conceiving of and using the _Promotion and atmospheric enhancement of the district by the Nouvo St-Roch business arts and culture as (new) tools for economic and tourist development. Since 1985, many examples of development corporation. _Total of $380 million invested to date. cultural quarters have emerged throughout the world, particularly in Europe, with the annual desig- nation of a “European Capital of Culture,”18 by the European Parliament and the Council of Europe.

EXPERIENCE ABROAD: TEMPLE BAR, DUBLIN (IRELAND) _In 1970, a transport company wanted to turn a deserted neighbourhood into a bus depot. _In the early 1980s, artists began in- vesting in the sector’s abandoned build- ings. Small restaurants and art galleries gradually cropped up. The eponymous Temple Bar was already present. _Artists launched the Temple Bar Devel- opment Council (creation of a development model, an architectural working plan and the creation and management of an incen- tive tax system for entrepreneurs). _Government establishment of Temple Bar Properties Limited (acquisition of buildings, development of projects and private sector partnerships, program of activities, of public art, of small business development and of marketing). _Participation by the Prime Minister of One of the first examples of urban revitalization employing the cultural quarter strategy was Ireland and the Dublin City Council. the Temple Bar Quarter in Dublin, Ireland. This inspirational experiment dating to the early 1980s _Neighbourhood renewal project sub- mitted to the European Union under the clearly illustrates the developmental phases of this cultural quarter, which now enjoys real success European Regional Development Fund for among local inhabitants and visitors. The Marolles cultural quarter in Brussels, Belgium, is another its new Urban Pilot Project program. example of local cultural development that is part of a large-term strategy. Closer to home, Québec City’s Saint-Roch quarter was transformed some 20 years ago un- der the impetus of the Méduse co op and supported by the advent of institutions of higher learning and other cultural enterprises. In Montréal, Old Lachine’s planned developed since the 1970s is an- other fine example of local cultural development. Old Lachine’s historic and architectural heritage

18 ec.europa.eu/culture/index_en.htm

19 LOCAL EXPERIENCE: OLD LACHINE _330 years of history (fur trade, explorers, Lachine Canal). _1973-1991: Vision and leadership of Mayor Guy Descary (René-Lévesque Park, promo- tion of the historic and heritage site, partnership with Parks Canada, development of the marina, etc.). _2001: Brainstorming development of the Old Lachine Cultural District and boulevard Saint-Joseph. _Three national historic sites: Lachine Canal, Fur Trade at Lachine, Maison LeBer – LeMoyne. _Cultural venue: Guy-Descary Cultural Complex, Lachine Museum and the Musée plein air _Historical sites: Fort-Rolland, Dawes and Dominion Engineering industrial sites, Auberge Heney and Saints-Anges-Gardiens Church. _Presence of commerce, institutions and tourism (Pôle des rapides). _Major events: Festival arts de rue, Symposium de peinture, Dragon Boat Festival, etc. _Water and sports activities. _Leadership assumed by Lachine borough in conjunction with local stakeholders.

alongside its natural patrimony, accompanied by the presence of artwork and cultural venues, de- Roodhouse said that cultural quarters can grow if two prerequisites have been met. First, livers a remarkable impact. More recently, the Pôle de création des Faubourgs was established in they generally emerge in urban sectors that already contain an embryonic cultural presence, largely western Ville-Marie borough in 2009. This cultural quarter is intended to serve as a vast laboratory due to the fact that artists and small creative enterprises have acquired premises in such low-rent for the succession and for an avant-garde society in which culture is recognized as being an en- rust-belt sector and have changed the environmental aesthetics with their lifestyles. Second, cultur- gine of economic development. Over 250 associations, businesses and cultural venues employing al quarters can develop if public administrations take the initiative of investing in them by supporting some 7,500 people are engaged in its vast cultural economy sector.19 the following kinds of developments: Many scientists, professors and urban planners have helped define and develop the cul- tural quarter concept that has emerged over the past 30 years. We can see that this notion has “. . . a cluster of activities and networks (embedded in a particular place), a series of evolved from merely being a goal of urban revitalization efforts to an outcome built primarily around associations, a context (for the use of planning and development powers to preserve integrated urban planning. We have selected definitions from three of the experts who have writ- and encourage cultural production and consumption), integrated cultural and eco- ten about this idea: Simon Roodhouse (United Kingdom), Mariangela Lavanga (Italy), Elsa Vivant nomic development strategy (focused on the regeneration of cultural infrastructure (France) and the distinguished urban planner, John Montgomery (United Kingdom). As part of our and a selected physical urban area).”21 task and based on the results of consultations conducted in 2010, definitions and conceptual mod- els selected correspond with borough and local partner perceptions of a cultural quarter in Montré- Cultural quarters are, accordingly, sectors with some cultural presence and in which the al. We shall discuss more of what these boroughs and partners said in sections 4.3 and 4.4, below. leadership and support of public authorities are needed to underpin and promote the cultural func- In his text Cultural Quarters: Principles and Practice, Prof. Roodhouse defined a cultural tion. The Quartier des spectacles is an excellent example of Roodhouse’s thinking. This quarter, quarter as follows: which developed principally from 1920 to 1960 with the creation of many cabarets, has maintained a strong cultural presence for over a century. A number of major cultural facilities have been added “ . . . a geographical area of a large town or city which acts as a focus for cultural since that time. The city and several public (the provincial and federal governments) and private and artistic activities through the presence of a group of buildings devoted to hous- partners decided to invest in this downtown sector to revitalize it and strengthen its cultural arts and ing a range of such activities, and purpose designed or adapted spaces to create performance functions, while taking various other urban ingredients into account. a sense of identity, providing an environment to facilitate and encourage the provi- sion of cultural and artistic services and activities . . . a cultural quarter represents the coherence and convergence of the arts and heritage in culture, and culture as a manifestation of society.”20

19 lesfaubourgs.ca 20 S. Roodhouse (2006). Cultural quarters, principles and practices. p.21. 21 Ibid.

20 Lavanga listed a cultural quarter’s key characteristics as a central location, cultural facilities, a variety LOCAL EXPERIENCE: QUARTIER of different functions, a bridge between cultural consumption and production and a strong pres- DES SPECTACLES, MONTRÉAL ence of public artwork. She added that the most important aspect is generally the balance of _2001: The ADISQ recommended the existing functions and uses, accompanied by the links between and symbiosis among each such Quartier des spectacles urban develop- component, enabling the cultural quarter to constantly renew itself and evolve. ment project for Montréal’s downtown region. _2002: The Quartier des spectacles was John Montgomery was one of the first urban planners to use the cultural quarter concept in the early a priority of the Montréal Summit. _2003: Montréal created the Quartier 1980s. After several years of studying and developing cultural quarters in various cities, first in the des spectacles partnership. The organiza- United Kingdom and then throughout the world, he identified four types: tion defined the Quartier’s visual identity and first collective projects. _2007: Development by Daoust Lestage Museum cultural quarters. Inc. of the special urban planning pro- gram for the Place des Arts sector of the Institutional cultural quarters. Quartier des spectacles. Metropolitan cultural quarters. _2007: The project was backed by the Industrial cultural quarters (poles of production for the plastic arts and for the creative federal and provincial governments, which each agreed to match Montréal’s $40 mil- and design industries).23 lion contribution over four years to carry out the project ($120 million investment). _2009: The Quartier des spectacles The metropolitan category seems best suited to Montréal’s boroughs, as it involves dynamic urban partnership became responsible for bring- planning, along with diverse uses and functions. Other kinds of cultural quarters are focused more ing more life to the sector, managing pub- lic areas and enriching cultural offerings. on a specific cultural function, such as the cultural poles discussed in section 3.1, above. It pursued such collective efforts as the Lighting Plan and promoted the Quartier des spectacles as a world-class cultural destination and furthered its development. It seems clear that Montréal’s future cultural quarters will each have its own character and components incorporating a range of urban functions, uses and facilities. In view of Researcher Mariangela Lavanga, who focused on the development of cultural quarters in Tampere (Finland) and Rotterdam (Netherlands), discusses the cultural quarter concept as follows: the inherent differences of the various boroughs and their contrasting real-life situations, a “one size fits all” approach “. . . a wider view in which the needs and tastes of local communities appear to pre- would not be suitable. Each borough has the authority, vail in the attempt to redesign the urban shape through a more organic integration of art works and activities in everyday life, aiming at the rise of residents welfare and as previously discussed, to define what it believes to be a at the enhancement of the urban identity in residents’ and visitors’ perceptions . . . cultural quarter and to determine the kinds of entities that the development of cultural quarters often takes place in specific quarters of the city, it wants to enhance and develop. distinct areas defined by their limited area, their mix of types and sizes of buildings and tenure, their human scale and their individual character and intrinsic identity . . . The cultural quarter represents the city’s avant-garde heart, its creative milieu.”22

22 fokus.or.at/fileadmin/fokus/user/downloads/acei_paper/lavanga.pdf 23 halliejones.com/Resources/CulturalQuarters.pdf

21 In keeping with Montgomery’s thinking, three factors are critical to the success and sustainability of a cultural quarter in Montréal: existing economic, cultural and social activities, the built heritage (relationships between buildings and spaces), and the historic or cultural significance of the location.

“Activity: Diversity of primary and secondary land uses Extent and variety of cultural venues and events Presence of an evening economy, including café culture Strength of small-firm economy, including creative businesses Access to education providers

“Built form: Fine-grain urban morphology Variety and adaptability of building stock Permeability of streetscape Legibility Amount and quality of public spaces Active frontages

“Meaning: Finally, this report will consider the ideas of Professor Elsa Vivant, from France. Author of Important meeting and gathering spaces Qu’est-ce que la ville créative?, this urban planning researcher focuses on such issues as the urban Sense of history and progress planner’s role in producing the creative city. We feel that the concept of “cultural quarter” overlaps Area of history and imagery with that of “creative city,” although her work does not strictly address the question. The cultural Knowledgeability quarter concept may be perceived as a means of strengthening, developing and enhancing a Design appreciation and style”24 creative metropolis. Such an approach is a local strategy that forms part of a global approach. If Montréal wants to be a cultural metropolis, it must draw upon and imbue itself with the cul- A successful cultural quarter, for Montgomery, is one that provides a consistent and unique setting tural wealth of its constituent boroughs. for its built heritage, activities and significance, while adding to the host city’s identity. Authenticity Elsa Vivant proposes an original urban planning concept of “serendipity” that would permit and an ability to organize, innovate and adapt to change are key qualities of a cultural quarter. a city’s true creative development. “Serendipity” refers to a city’s ability to leave things to chance Many of these qualities were mentioned during consultations with the boroughs and part- and to let urban wanderers be greeted by surprises and unanticipated encounters. Creativity thrives ner organizations. Representatives of Héritage Montréal and L’Autre Montréal spoke to us, for exam- in urban explorations that are accompanied by new discoveries. According to Vivant, cities that ple, about the importance of enhancing the history and built heritage of local neighbourhoods. In seek to grow their creativity using rigid urban policies that create homogeneous cityscapes are on Ville-Marie’s Pôle de création des Faubourgs,25 the entrepreneurial aspect of art and culture clearly the wrong track. She says: predominates. [TRANSLATION] “. . . an urban planner’s challenge is not to design a creative city, but to establish prerequisites for such creativity by leaving room for the unknown and accepting than unplanned and even unauthorized practices will arise, permit- ting unexpected encounters . . . . Development of a creative city depends on stake- holder abilities to accept and encourage initiatives beyond their own reach.”26 24 Ibid. 25 lesfaubourgs.ca 26 E. Vivant (2009). Qu’est-ce que la ville créative?, p. 80.

22 As Elsa Vivant mentions, a city’s creative development depends on many factors. City plan- 4.2 PUBLIC POLICIES ners, like specialists in culture and other fields, have major roles to play in formulating a compre- hensive development plan. A broad-based and inclusive project such as the Cultural Quarters Certain crucial factors must be included in planning cultural quarters. The city’s policies and action must be part of small- and large-scale development plans because of its impact on both urban plans include the following important considerations. We shall begin by discussing documents that and cultural factors. With Montréal’s Urban Plan under revision, this would be an excellent oppor- we feel pertain directly to the cultural quarter concept. tunity for the boroughs to include in the forthcoming plan’s local versions guidelines and actions designed to promote their own cultural development plans, including sectors that could become 4.2.1 CULTURAL DEVELOPMENT POLICY (2005) cultural quarters over the short, medium or long terms. The city’s 2005-2015 Cultural Development Policy: Montréal Cultural Metropolis contains a number This cursory review of the literature on cultural quarters explains the concept’s origin and of commitments to the Cultural Quarters project. The policy also makes a formal commitment to the evolution over the past 30 years, particularly with respect to various integrated urban planning and project. We believe that the following commitments are most closely related to the project. revitalization efforts in different Quebec communities and elsewhere. Cultural quarters come in dif- ferent shapes and sizes, but they all seek to enhance the cultural offerings of local communities by Commitment 5_Montréal has not only adopted a Cultural Development Policy, it will make culture a employing and promoting culture and the arts as development tools. key component of its urban policies. It will also help implement and monitor Agenda 21 for Culture locally and within the framework of its international relations.

Commitment 11_The city will include a cultural component in its Integrated Urban Revitalization Pro- gram, will promote access to projects for amateur artists developed under the program and will place greater emphasis on culture’s contribution to Montréal’s social development.

Commitment 27_In close conjunction with the boroughs concerned and its other partners, the city will adopt an action plan and tools enabling it to take action in consolidating and developing work- shops for artisans and artists, with or without living spaces, particularly in central areas. In particular, the city will support access to property ownership programs for artists.

Commitment 28_The city will, in conjunction with the boroughs, formulate a comprehensive public art action plan, including a new artwork acquisition plan, a municipal program of integration of the arts with architecture, along with initiatives to protect public works of art installed on private property.

Commitment 29_The city will improve the integration of design into its activities, particularly with respect to public spaces, new buildings, road repair and street furniture, while maintaining its ef- forts to promote design among residents and its institutional and private partners and raising Mon- tréal’s international status as a City of Design.

Commitment 30_The city will deploy a strategic cultural pole action plan in line with its goals of enriching residents’ experiences in the arts, culture and heritage while exploring their city and of boosting Montréal’s lure as a cultural metropolis. The city will also propose ways of en- riching existing cultural poles and formulate a program for developing new poles in conjunc- tion with each borough and partner concerned.

23 Commitment 31_The city will give high priority to completing the Quartier des spectacles. This col- 4.2.2 HERITAGE POLICY (2005) lective project will emphasize the development of culture and a balance between different cultural Heritage in all its forms (natural, along with tangible and intangible culture) is an intrinsic component forms in the aim of producing a popular venue for residents and an international cultural destination. of the urban landscape. The boroughs are always concerned with highlighting their heritage and history. The Heritage Policy contains two broad areas of action with respect to cultural quarters: Commitment 32_The city will adopt consistent signage and form a network among and give the ap- propriate visibility to institutions, facilities, events, public artwork and other important expressions The creation of a system for organizing heritage activities (proactive efforts by the city in of Montréal’s culture and heritage.27 inviting partners to assume their proper responsibilities and promoting the emergence of creative solutions to complex or divergent issues, support for heritage associations and the forging of networks among those involved heritage activities).

An active and standard-setting role by this organization as an owner and manager of heritage properties.28

4.2.3 URBAN PLAN (2004—CURRENTLY IN REVISION) Montréal’s Urban Plan provides essential support for the Cultural Quarters project. City planners must not only enforce the law, but participate in the formulation of a comprehensive plan for the city and projects for its communities. The Urban Plan is currently in revision. The Executive Committee has, accordingly, created a Bureau du Plan that will work with the boroughs to produce the Mon- tréal Urban Development Plan by 2013. This development plan will provide a strategic overview of Montréal’s future, along with municipal guidelines and policies on city planning programs and priorities for development and action, accompanied by methods for implementing and monitoring these efforts.

The existing urban plan includes the seven following guidelines: Diversified, complete and excellent living environments. Effective transportation systems that support the city’s development and are properly integrated into its structure. A prestigious, user-friendly and populated urban centre. Dynamic, accessible and diversified employment sectors. A beautiful cityscape consisting of excellent architectural work. Spotlighting built, archaeological and natural heritage. A healthy living environment.

The “diversified, complete and excellent living environments” guideline corresponds particularly well with the Cultural Quarters project. The city intends to be active in urban revitalization, main- tenance and adaptation of housing, planning programs for public and private green spaces, im- provement of roads, thoroughfares and shopping poles and the upgrade of community services and facilities. The city has also formulated an Integrated Urban Revitalization Strategy. The cultural com- ponent does not, for the moment, seem to have been included in all revitalization sectors. Some

27 Montréal (2005). Politique de développement culturel 2005-2015, p. 76 -77. 28 ville.montreal.qc.ca/patrimoine

24 of these sectors, however, are situated in a “cultural quarter.” This is true with the Sainte-Marie and Saint-Jacques sectors located in the Pôle de création des Faubourgs and which are active in the latter’s development. The Integrated Urban Revitalization Strategy, mentioned in the Urban Plan, presents the following guiding principles: Adopting a coordinated and comprehensive policy on the situation of the sections concerned. Seeking to provide an integrated response in many areas based on the community’s situation. Merging, coordinating and adapting public, community-based and private efforts. Popular involvement in planning, implementing and monitoring activities. Intending to eliminate causes of poverty as part of a sustainable development initiative.29.

4.2.4 ASSESSMENT OF MONTRÉAL’S PUBLIC LIBRARY SYSTEM (2005, 2007) AND THE STRATEGIC LIBRARY SYSTEM PLAN (2004, 2005, 2007) The Assessment of Montréal’s Public Library System (Diagnostic des bibliothèques)30 submitted in 2005 by Montréal and the Ministère de la culture, des Communications et de la Condition féminine, then updated in 2007, detailed the status of Montréal’s public libraries. A Public Library Enhance- ment Plan (Plan de consolidation du réseau des bibliothèques publiques) was proposed following ed goals and strategies for the network in terms of content offered, demand, demand for building this assessment. The Enhancement Plan was primarily intended to enable these libraries to offer the bridges between communities and for support, facilities, resources, follow-up and coordination. average level of resources and services found in other Canadian cities with populations of 500,000 Like libraries, cultural venues are firmly rooted in their cultural quarters, facilitating access and resi- or more. The Public Library Construction, Expansion and Renovation Program (Programme de réno- dent participation in cultural activities. vation, d’agrandissement et de construction des bibliothèques publiques—RAC) was set up to pro- vide financial assistance to boroughs investing in building projects aimed at upgrading, enhancing 4.2.6 ASSESSMENT OF AMATEUR ARTISTIC ACTIVITIES or boosting their public library service levels. In line with the library and réseau Accès culture assessments, the Bureau du loisir (of the Direction Public libraries have a key role to play in the Cultural Quarters project. Often viewed as a de la culture et du patrimoine) launched an Assessment of Amateur Artistic Activities in Montréal portal to information and knowledge for each citizen, libraries also form part of their communities’ (Diagnostic de la pratique artistique amateur à Montréal) in 2011, in conjunction with the boroughs. backbones and serve as important event venues. They promote social integration and help improve This assessment is intended to guide in the planning of new municipal services for amateur artistic quality of life. After work and home, they have increasingly become a “third space” for living, learn- activities and to increase the use of such services for the following reasons: ing and meeting others. Adapt them to residents’ current and future needs. 4.2.5 ASSESSMENT OF RÉSEAU ACCÈS CULTURE (2009) Improve resident ability to participate in cultural activities with a special focus on young AND THE RÉSEAU ACCÈS CULTURE ACTION PLAN (2010-2014) people, families, new immigrants and low-income individuals. The strategy employed by réseau Accès culture is similar to that of the libraries. An assessment of Promote active participation in cultural events. activities at 22 municipal cultural venues was submitted in 2009. For each venue, this assessment Help make Montréal a more inclusive and forward-reaching metropolis. listed the kinds of cultural activities it provided, its accessibility, the resources at its disposal, the importance of developing new audiences and upgrading facilities and the power of the municipal A five-year action plan will be developed based on this Assessment. The plan will define municipal cultural dissemination system. Following this assessment, the city formulated the 2010-2014 réseau strategies for guiding the city and its boroughs in expanding amateur artistic activities through 2017. Accès culture Action Plan (Plan d’action 2010 à 2014 du réseau Accès culture),31 which recommend-

29 ville.montreal.qc.ca/plan-urbanisme 30 ville.montreal.qc.ca/biblio 31 accesculture.com

25 4.2.7 PUBLIC ART POLICY (2010) Public art is a key ingredient of cultural quarters. The city’s Public Art Policy seeks to make art more widely available, highlight artists and improve city living. This document embraces three guiding principles and three areas of action:

The three guiding principles: Build on knowledge and experience. Include public art in municipal strategies and projects. Promote corporate involvement.

The three areas of action: Maintain and preserve. Acquire and develop (broader and more balanced distribution of artwork throughout the city, improved quality of live and better urban planning program that incorporate public art and participation in such efforts by the private sector). 4.2.10 CULTURAL TOURISM DEVELOPMENT PLAN (2010) Disseminate and promote (cultural trajectory, events, access to information and Web).32 Cultural tourism is a key ingredient of many cultural quarters. Tourisme Montréal’s Cultural Tourism Development Plan (Plan de développement du tourisme culturel à Montréal – strategies et action), 4.2.8 “MONTRÉAL UNESCO CITY OF DESIGN” (2006) produced in partnership with the city and the Ministère de la culture, des Communications et de la Montréal was designated a “UNESCO City of Design”33 in 2006 by the Global Alliance for Cultural Condition féminine, presents guidelines and activities that can easily blend into the development of Diversity of United Nations Educational, Scientific and Cultural Organization’s (UNESCO’s) Creative cultural quarters. These recommendations (found in chapters 2 and 3 of the text) include: City Network. Convinced more than ever before of design’s crucial importance to the metropolis’s growth and prosperity, the city created the Bureau Design Montréal. This office has been tasked [TRANSLATION] with implementing the new municipal action plan for upgrading the city’s design and asserting Make lighting a key component of Montréal’s branding. Montréal’s status as a city of design. The quality of a city’s design, architecture and planning pro- Make lighting a key element in the development of urban projects. grams directly contribute to that of its life, to the pride of its residents and to the pleasure of visitors. The Cultural Quarters project responds to this idea and to the importance of incorporating design Develop and showcase the cultural experiences of local neighbourhoods and Montréal’s in the urban planning of future cultural quarters. urban villages. Name local neighbourhoods and urban villages offering high potentials for cultural 4.2.9 MUNICIPAL UNIVERSAL ACCESS POLICY (2011) endeavours and tourism. The Cultural Quarters project must address the importance of enabling all individuals, regardless of Develop planning tools to ensure that tourists are aware of these neighbourhoods. their abilities, to enjoy autonomous and simultaneous identical or similar use of services and activi- ties provided in future cultural quarters. Special emphasis must accordingly be given to the prin- Make it easier for tourists to find and get to cultural venues. ciple of universal accessibility. Moreover, the project must comply with guidelines set out under the Become more aware of the needs of cultural institutions to be identified and of tourists Montréal, Universally Accessible City (Montréal, ville universellement accessible) policy. The Direc- to find them. tion de la culture et du patrimoine has in fact already rolled out many initiatives promoting universal access to municipal sites and services. As a result of these initiatives resulted, AlterGo this year pre- Promote the development of more specialized cultural and thematic tours. sented its 4th PANAM Prize to the Direction. Work with specialized organizations in adding new tours to traditional ones.34

Other administrative documents that could influence development of the Cultural Quarters project are discussed below. 32 ville.montreal.qc.ca/artpublic 33 mtlunescodesign.com 34 tourisme-montreal.org

26 4.2.11 FAMILY POLICY (2008) 4.2.12 TRANSPORTATION PLAN (2008) The Cultural Quarters project, which treats cultural quarters as residential environments with locally Transportation is a key component in future cultural quarters and can support their development. based cultural services, addresses needs of Montréal’s families. Montréal’s Family Policy35 recom- Planning for such quarters must safely, positively and sustainably meet the transportation needs of mends taking action in four urban spheres that pose specific challenges: the home (affordable hous- pedestrians, cyclists, public transit riders and car drivers and riders. The Cultural Quarters project ing), the streets (beautification and safe circulation of traffic), the neighbourhood (community-based must accordingly review and incorporate the following Transportation Plan guidelines and projects services, green spaces and public facilities) and the city (public transit, sustainable development (including green neighbourhoods):36 and world-class activities and services). The Cultural Quarters project corresponds with the Family Policy’s core goals: Collective and active transportation. The local road system and parking. Prioritize young people and families in contributions by all municipal partners and Safe travel and quality of life. stakeholders. Trips generating economic value and the shipment of goods. Improve and develop quality of life for Montréal’s families based on their local situations. Innovation. Define a “Montréal family target” to meet by 2012 with respect to keeping residents from 25 to 44 years of age in the city. 4.2.13 ECONOMIC DEVELOPMENT STRATEGY (2011-2017) Promote mutual assistance among different generations. Montréal’s Economic Development Strategy assigns a prominent role to culture. The strategy treats culture as an engine of economic development, since it ensures social cohesion while also pertain- ing to urban planning, development and human resources. The strategy’s long-term goal is to rank Montréal by 2025 among those North American metropolises that offer the best quality of life. This goal also coincides with the Cultural Quarters project’s objective of enriching the cultural quality of our living space. The Economic Development Strategy proposes various strategies for making Mon- tréal an innovative and forward-looking cultural metropolis:

Help implement the Montréal, Cultural Metropolis Action Plan 2007-2017 to enhance and raise the city’s profile. Continue to building on Montréal’s position as a “UNESCO City of Design.” Contribute to the renown of Montréal as a knowledge-based city and of its universities. Promote the establishment and development of artists and of cultural enterprises in the Quartier des spectacles and expand the scope of [email protected]

36 ville.montreal.qc.ca/plandetransport 35 ville.montreal.qc.ca/famille 37 sdemontreal.com

27 4.2.14 IMAGINING - BUILDING MONTREAL 2025 (2005) The Imagining - Building Montreal 2025 Strategy38 sets out five areas of action:

Montréal, city of knowledge, creation and innovation. Montréal, forward-looking. Montréal, an outstanding place to live. Montréal, city of efficient infrastructure. Montréal, city open to the world.

Initiatives and projects of particular concern to Montréal, forward-looking cultural metropolis, support several Cultural Quarters project goals:

Make culture more accessible to residents (public library system, cultural centres, partnerships with museums, presentation of heritage, etc.). Support development of the arts and of culture (creation of artist workshops, funding by public and private partners of the arts and of culture, bolstering links between art and technology, etc.). Improve the urban environment (Quartier des spectacles, public art, ongoing contribution of design and development of cultural poles). Employ culture as an engine of economic development (supporting cultural events and festivals, promoting development of the technological arts, etc.).

4.2.15 POLICY ON THE PROTECTION AND ENHANCEMENT OF NATURAL HABITATS (2004) Nature and the environment are also key life quality components that will be greatly enhanced in certain cultural quarters. Goal three of the Policy on the Protection and Enhancement of Natural The Montréal Tree Policy (2005) also applies to the development of cultural quarters. Trees repre- Habitats39 promotes a better integration of ecosystems and natural landscapes within residential sent a great heritage in many boroughs. Outremont’s urban forest, for example, helps define the communities. Guidelines for 2009-2010 set out in the 2007-2008 Review of this policy are notewor- cityscape and improves its quality of life. Trees [TRANSLATION] “contribute to the branding of lo- thy in terms of cultural quarters: cal neighbourhoods, increase the sense of peace, contribute to social interaction, attract new resi- dents and serve as sources of inspiration.”41 Formalize innovative products that integrate natural habitats within urban spaces. Ensure programs to plan protected natural habitats: make natural habitats accessible 4.2.16 AGENDA 21 FOR CULTURE (2004) to the urban population. Agenda 21 for Culture focuses on cultural commitments and was adopted on May 8, 2004 in Barce- Include new sites in the city’s large park system. lona by communities meeting at the Fourth Forum of Local Authorities of Porto Alegre. This interna- Broaden our efforts to make the city greener.40 tional text has been approved by cities, local governments and worldwide organizations that have made commitments to cultural diversity, participatory democracy, human rights and the creation of conditions in which peace can prevail.

38 montreal2025.com 39 ville.montreal.qc.ca/grandsparcs 40 Ibid 41 Ibid

28 In referring to the UNESCO Universal Declaration on Cultural Diversity (2001), the Agenda Actions proposed under this orientation include the creation of sustainable neighbourhoods. Fol- recognizes cultural diversity as a key ingredient in the transformation of urban and social life and lowing the consultation process, we observed that other municipal projects, such as “Sustainable emphasizes the need for a balance between private and public interests. The Agenda is also based Neighbourhoods” (Quartiers durables), “Green Neighbourhoods” (Quartiers verts) and “Water- on the conviction that culture is the fourth pillar of sustainable development and recommends forg- side Path” (Parcours riverain) are increasingly opting for integrated and coordinated approaches ing solid bridges with other spheres of activity and of governance. just like the Cultural Quarter project. Production of the future Urban Development Plan will provide Montréal’s City Council endorsed the principles of Agenda 21 for Culture on June 21, 2005. an opportunity for merging these initiatives in which the environment and culture are increasingly In 2007, the city became a founding member of the United Cities and Local Governments (UCLG) interdependent. Working Group on Culture. This international body overseas “Promotion of cultural as the fourth pillar of sustainable development . . . . through the international dissemination and local implemen- This section highlights the important roles that certain municipal policies and action plans have tation of Agenda 21 for Culture”42 under its 2011-2013 Program. played in developing the Cultural Quarters project. Other policies and action plans from Montréal Since October of 2010, Montréal has, along with Buenos Aires, Lille and Stockholm, been or the Québec government could affect the project. For the moment, we have only discussed those one of the vice chair cities of the UCLG’s Working Group on Culture. Barcelona is the chair. that seem most relevant. The Cultural Quarters project corresponds with the goals of this document, which seeks to make culture part of all spheres of a city’s activities.

4.2.17 MONTRÉAL COMMUNITY SUSTAINABLE DEVELOPMENT PLAN (2010-2015) Incorporating the principles of sustainable development in our practices and projects has become essential if not vital to human survival in this new millennium. While for many the term “sustainable development” refers primarily to the environment, it also encompasses the economic and social spheres. Culture has been promoted as the fourth pillar of sustainable development since the 2000s. Values such as diversity, creativity and critical thinking that are inherent to cultural functions are now recognized as essential to the sustainable development of our societies. Making culture a fourth pillar of sustainable development means supporting the development of the cultural sector itself and recognizing the importance of culture in all public policies. The Montréal Community Sus- tainable Development Plan acknowledges culture’s role and says that: [TRANSLATION] “Montréal, as a pioneer in recognizing the cultural component’s importance in urban development, wishes to maintain this momentum by including a cultural perspective in its sustainable development strat- egy. Montréal fully endorses the approach taken by the United Nations Educational, Scientific and Cultural Organization, which refers to cultural diversity as the “world’s heritage” and says that such diversity must be recognized and confirmed on behalf of existing and future generations”43. This strategic position marks an important step in recognizing culture’s role in local territorial develop- ment and why it is so important in the Cultural Quarters project.

The Cultural Quarters project is guided by the principle of mainstreaming cited in the following orientation of the Sustainable Development Plan:

Ensure residential quality of life.

42 agenda21c.gouv.qc.ca 43 ville.montreal.qc.ca/developpementdurable

29 4.3 IDENTIFYING CULTURAL QUARTERS 4.3.1 “EXISTING” CULTURAL QUARTERS “Existing” cultural quarters have a large number of cultural facilities, services and activities clustered Our consultations with the boroughs began in January 2010 and concluded in April 2011. Most of within an already multifunctional sector. The boroughs want to develop, enhance and boost the these meetings included representatives from two departments, one involved in culture and the profile of such sectors. A few such sectors include: other in urban planning. As previously discussed, the Cultural Quarters project addresses culture and planning (issues of zoning, by-laws, occupancy permits, posters, etc.). Ahuntsic–Cartierville : presentation of the historical, architectural and natural heritage of the Sault-au-Récollet sector of boulevard Gouin, the Île-de-la-Visitation Nature Park, the old Meetings with our colleagues from the boroughs were intended to determine: watermill and Cité Historia events. Nearby, there is also the Maison des arts et des lettres Sophie-Barat and Ahuntsic Park, which hosts FestiBlues in the fall. Their definition of “cultural quarter.” The status of their cultural situation and their outlook for the future. Côte-des-Neiges–Notre-Dame-de-Grâce : Jean-Brillant Park sector, the Université de What they expect in this regard from the corporate departments. Montréal, St. Joseph’s Oratory and chemin Côte-des-Neiges at the heart of the borough. Presentation of a popular event showcasing heritage and cultural diversity. Some boroughs had short-term views of the future; the action plans of others were spread over sever- al years. At the conclusion of each meeting, our colleagues easily named one or more sectors of their Lachine : the Old Lachine cultural quarter, including boulevard Saint-Joseph, René-Lévesque boroughs that served as a hub of cultural activities or offered a potential for cultural development. Park, historic sites, cultural poles and museums. Development of a thematic signage We deliberately chose to define the expression “cultural quarter” during these meetings. concept, branding and cultural tours. Rather, we wanted the boroughs to describe what an existing or potential cultural quarter is for themselves, based on their own situations. We did, however, propose a basic and broad defini- Sud-Ouest : The Atwater hub, including the Corona Theatre, rue Notre-Dame, the Atwater tion: a demarcated space with a concentration of cultural services and activities within a certain Market, the Georges-Vanier Cultural pole and the Lachine Canal sector. Revitalization of rue territory that promotes development and symbiotic relationships among stakeholders interacting Notre-Dame, presentation of heritage and installation of artist workshops. within that territory. For purposes of study, the cultural quarters listed by the boroughs have been placed in Mercier–Hochelaga-Maisonneuve : promotion of the Hochelaga-Maisonneuve quarter “existing” and “planned” categories. and its Maisonneuve Market, promenade Ontario, place Valois, the Maisonneuve cultural pole, the Maisonneuve library and stronger ties with the Espace pour la vie.

30 Rosemont–La-Petite-Patrie : the Jean-Talon Market and Little Italy sectors, rue Saint-Hubert between Rosemont and Beaubien, the Beaubien Cinema sectors with its cafés, restaurants and shops, Beaubien Park and various events.

Ville-Marie : a desire to enhance and develop the Jean-Marie-Gauvreau centre sector, the Patro Le Prévost library, Casa d’Italia, neighbouring Jarry Park and boulevard Saint-Laurent at the intersection of Jean-Talon.

Villeray–Saint-Michel–Parc-Extension : la volonté de consolider et de développer le secteur du centre Jean-Marie-Gauvreau, la bibliothèque Patro Le Prévost, la Casa d’Italia, le parc Jarry à proximité, le boulevard Saint-Laurent croisant la rue Jean-Talon.

Outremont : sector surrounding the Outremont Theatre, including the library, the art gallery, Saint-Viateur Park (with its outdoor shows and exhibits), Paul-Gérin-Lajoie-d’Outremont secondary school and its drama program, Beaubien Park with its outdoor shows, public artwork and further to the north, the intergenerational community centre.

Plateau–Mont-Royal : several sectors, such as Maguire, to consolidate, artist workshops to maintain, the Main and its designer boutiques, avenue du Mont Royal, the eastern Plateau, square Saint-Louis and the McGill Ghetto, local heritage tours.

31 4.3.2 “PLANNED” CULTURAL QUARTERS “Planned” cultural quarters make up the second category. Such areas already have some cultural facilities, services and activities, but require longer-term investments or efforts for which a variety of functions must be developed. These are a few examples:

Ahuntsic–Cartierville : the Chabanel sectors and the search for a new function for many vacant premises. The sector’s regeneration is built around the creative design and fashion industries.

Anjou : the civic and cultural centre surrounding Jean-Corbeil library, the desire to create a cultural performance facility, to create a public square and to install a work of public art.

Côte-des-Neiges–Notre-Dame-de-Grâce : redirection of a section of rue Sherbrooke to pass by the Benny site, which is to include a library, a cultural centre and a sports centre. Creation of a new path in Notre-Dame-de-Grâce Park offering various services (small booths, cafés and performance space).

LaSalle : desire to change the zoning on rue Édouard to permit the establishment of small shops and cafés, creation of a public gathering area at the intersection of boulevard Lasalle and rue Édouard, improvement of Des Rapides Park and presentation of historic and natural heritage.

Île-Bizard–Sainte-Geneviève : the Sainte-Geneviève village pole, the Salle Pauline-Julien hub with plans to build an exhibition space and Gérald-Godin College. Desire to create an event and broaden the range of services available on boulevard Gouin.

Montréal-Nord : the cultural and community house sector, the library and surrounding parks. Desire to develop projects that serve as bridges between different cultures and that encourage activities by amateur artists. Revitalization of rue Charleroi with an increased cultural presence.

Outremont : the sector around the Outremont Theatre, Saint-Viateur, plus the archives and the pole international des arts de la marionnette, improvement of the Outremont/Mile-End area Saint-Viateur and Bernard, followed by development of Outremont/Parc-Extension in conjunction with the Outremont Campus. Simultaneously, presentation of tree and archi- tectural heritage, the arboretum and the McFarlane House in Joyce Park.

32 Pierrefonds–Roxboro : the civic and cultural pole near Pierrefonds library. Desire to acquire a cultural performance facility, organize events and install public artwork.

Rivière-des-Prairies–Pointe-aux- Trembles : adoption of a special urban plan for the Old Pointe-aux-Trembles sector that will feature the mill, a future public square, an urban events area, historical and architectural heritage, the river shoreline, a cultural recreation pole and a local archives pole.

33 Rosemont–La-Petite-Patrie : site of the former Angus factories, including Jean-Duceppe Park, a work of public art, Locomotives Park (historic site of importance in Montréal’s devel- opment), the Molson–Beaubien and De Lorimier–Saint-Zotique hub (local movie theatre, the Molson Park pergola, shops selling fine and local agricultural products, Mousse-Café exhibitions, Petite-Patrie library), promenade Masson, the Gabrielle-et-Marcel-Lapalme pole and the Iberville sector, Metro Rosemont sector and its Marc-Favreau library.

Saint-Laurent : the Cégep Saint-Laurent College and Georges-Vanier College sector, Old Saint-Laurent, highlighting the church, the Musée des maîtres et artisans cultural heritage museum, the performance space and the library.

Saint-Léonard : the civic and cultural pole, including the town hall, the library and the Léonardo da Vinci centre, creation of a multipurpose area in Wilfrid-Bastien Park, construc- tion of a multipurpose performance hall (150 to 200 people) for cultural bridge-building projects and activities for amateur artists and creation of an exhibition centre.

Verdun : the circus arts hub, conversion of Studio B into a performance space for the performing and the circus arts, enhancing the Verdun Auditorium’s role, opening Saint- Dizier House, development of cultural activities on rue Wellington and the development of a waterside promenade.

Villeray–Saint-Michel–Parc- Extension : the area around Place de la Gare Jean-Talon in Parc-Extension, around the octagonal park in Saint- Michel by the Petit Maghreb, with it library, a community centre, a piece of public artwork, a secondary school specializing in music and a forthcoming bandstand.

The sectors designated by the boroughs, which were only mentioned during one consul- tation session, are simply given as example. This effort is of course intended to launch a discussion on the cultural quarter concept and on sectors with short, medium and long-term potential for the development of cultural activ- ities. Further consideration could yield more specific designations.

34 4.4 THE CULTURAL QUARTER CONCEPT The cultural quarter concept will be further defined FOR MONTRÉAL in line with the thinking and efforts of concerned

The cultural quarter concept has become more complete and better defined in the course of our parties and their desire to work together to discussions with such parties as the corporate departments, the boroughs and our social and pro- strengthen and develop such sectors in Montréal. fessional organization partners. Based on their ideas, a Montréal cultural quarter should meet all of the following criteria: These ideas clearly express the multifaceted nature of this project, which incorporates elements [TRANSLATIONS] from many fields. The cultural quarter concept will be further defined in line with the thinking «“A safe, accessible and high-quality living space.” and efforts of concerned parties and their desire to work together to strengthen and develop “A lively, animated village square encouraging social interaction.” such sectors in Montréal. The cultural quarter concept suggested at these meetings has helped “A venue offering a variety of activities, attractions and community-based cultural the corporate departments, boroughs and partners designate such quarters, while building on services.” these definitions based on local situations. “A distinctive area that builds on its strengths and highlights local life.” “A place that brings together and enhances sites promoting cultural education, creation, Culture Montréal, a partner of the 2007-2017—Montréal Cultural Metropolis Action Plan, is seeking production and dissemination.” to develop a metropolis that is home to all is residents and that is firmly rooted in its local neighbour- “A venue that offers cultural services and activities.” hoods. After consulting with its members, this organization recently proposed the following defini- “A location with conditions suitable for the development and maintenance of creative tion of a cultural quarter: [TRANSLATION] “A lively environment in which the presence of arts and forums.” culture is recognized as a key factor in the healthy development of local communities, particularly in “A space featuring active professionals and the up-and-coming generation.” terms of a sense of community, economic vitality, relationships between individuals, quality of life, “A locale promoting the cultural involvement of residents, through such means as cultural etc.” We subscribe to this definition, which sees the cultural quarter as a multifaceted urban system. bridge building.” “A venue developed in line with local cultural development policies.” “A green area that complies with principles of sustainable development and of 4.5 NEEDS AND EXPECTATIONS Agenda 21 for Culture.” “A region that is in line with urban planning and cultural urbanism efforts.” In early 2010, as previously noted, we initiated consultations with the corporate departments, the “A sector that features local history and heritage.” boroughs and certain partners that had already given their opinions on cultural quarters or poles. “An innovative space that promotes new technologies.” We also studied papers that had been submitted since 2005 to the Office de consultation publique “A venue with a unique design and branding.” de Montréal or to City Council committees on various culture and heritage projects. Organizations “An attractive locale that offers a unique urban experience.” that had offered their opinions on these topics generally worked in arts, culture or heritage, but “A sector that acts as a powerful magnet for tourists.” other parties also shared their ideas. This was the case, for example, with economic development “An area that contributes to Montréal’s cultural, tourist and economic development.” and community development associations, commercial development organizations, historical and heritage societies, educational institutions and occasionally scientific organizations. We met with several of these groups. Our 2009-2011 meeting schedule appears in the Appendix.

35 4.5.1 CORPORATE DEPARTMENTS 4.5.3 PARTNERS The corporate departments proposed such strategies as the following to develop cultural quarters: The questions and concerns of the social and professional organization partners we consulted per- tained in many cases to creating networks among local stakeholders and resources and improving Build on existing assets and make significant efforts to promote Montréal’s cultural and links between municipal bodies and cultural organizations: urban development. Make the Urban Plan central to the development of cultural quarters. Promoting closer ties and the creation of networks among different cultural quarters and Consider issues of planning, security and quality of life, while including principles of local stakeholders; forging bonds between partners and boroughs. culture and design in the construction, creation and redesign of public spaces. Linking culture with urban planning. Consider the importance of emerging culture and the next generation. Developing venues for cultural dissemination and creation and artist workshops; the Base the cultural quarter concept on resident cultural involvement. creation of meeting places is also essential. Emphasize the roles of libraries and municipal cultural venues in the community; Promoting better use of public spaces. promote networking among such entities and partnerships with other stakeholders. Increasing the number of municipal initiatives and activities and obtaining financial Make the Cultural Quarters project part of the city’s sustainable development efforts support to implement them, providing support and encouragement in project and of its Agenda 21 for Culture implementation process. development. Develop tools to support the boroughs in the planning and development of their future Expanding the concept of culture; acknowledging the cultural roles played by cultural quarters. academia, commercial development associations, scientific associations and community organizations. 4.5.2 BOROUGHS Developing a comprehensive strategy for action, while respecting the autonomy of each party. Borough requests and proposals pertain primarily to the structural needs and development of Formulating a 20-year timeline for Montréal’s cultural development that will be shared future cultural quarters: by the corporate departments, the boroughs and partners from social and professional organizations. Develop future cultural quarters in line with local circumstances and the characteristics and requirements of local residents. We generally observed during our meetings that participants view the Cultural Quarters project Create and install public spaces and gathering areas. as broad-based, inclusive and decentralized. They were receptive to this effort. The expressed a Build on existing facilities and develop additional venues for cultural creation and desire to work together and forge partnerships to develop the project, each with its own short-, dissemination. medium- or long-term interests. Develop cultural tours. These meetings also pinpointed the specific needs and expectations of the boroughs and Present heritage in all its forms. partners. Their needs and requests have, for purposes of study, been group in four major catego- Formulate a municipal cultural signage concept. ries: event promotion and organization of cultural quarters, planning programs and transportation, Launch more cultural bridge building projects and efforts to encourage artistic activity capital investments and management and coordination. by amateurs. Ensure that the cultural offerings of the different boroughs complement each other. Provide recurring funding for cultural quarter projects and make a meaningful long-term financial effort. Adopt a local cultural action plan.

36 The following section will consider each of these categories and its accompanying expec- tations in detail. It will also propose areas for further study.

37 5 AREAS FOR FURTHER STUDY

38 Following the research and consultation process, various areas for further study and perspectives We shall now discuss the four major categories in which we have grouped the findings, expecta- have emerged with respect to formulating means for consolidating and developing cultural quarters. tions and areas for further study that we recommend: event promotion and organization, planning programs and transportation, capital investments and management and operations.

5.1 LOCAL CULTURAL ACTIVITIES 5.2 EVENT PROMOTION AND ORGANIZATION Event promotion and organization for cultural quarters is a matter of constant concern. Most expec- Before planning or developing cultural quarters, stakeholders should devote more study to tations expressed by the boroughs fall into that category. What factors will breathe life into cultural three topics: quarters and what will highlight their roles? The most frequent responses are tangible and intan- gible heritage, cultural tours, community-based commercial activity, festivals and events, culture bridge building and amateur artistic activities. The opportunity for the borough to adopt a local cultural action plan, in conjunction with local partner organizations, that can include intentions to develop one or more cultural quarters44.

The opportunity for the borough to include the one or designated “cultural quarter” sectors in the local version of the urban plan and to subsequently adapt regulations (posters, zoning, occupancy permits, use of public land, artist workshops, etc.) pertaining to these sectors in lines with cultural development and planning goals. 5.2.1 SPOTLIGHTING HISTORY AND HERITAGE The possibility of creating a multidisciplinary team One of a borough’s prime resources is often heritage, whether of the natural, tangible cultural or intangible cultural variety. Each quarter has its own history, commemorative sites or remarkable within the corporate departments to support the landscapes that, borough representatives say, could receive greater attention. Commemoration boroughs in their coordination and planning processes. is, for example, an excellent means of making a community’s cultural history known. By naming its library after Saul Bellow, Lachine deftly drew attention to this great writer’s origins.

How can we produce an enhanced collective effort to emphasize history and heritage that will in particular help develop a sense of identity, belonging and pride in the cultural quarters and the boroughs? How can we make the public aware of the great wealth of built and historic heritage in existing and future cultural quarters? How can we compensate for this lack of knowledge or recognition of local heritage?

44 Some boroughs already have a cultural policy, a master plan for sports facilities or an assessment of cultural facilities.

39 5.2.2 CULTURAL TOURS The boroughs and their partners have found that cultural tours are an excellent means of spotlighting and presenting a community. Different types of visits are possible and have been suggested, including audio tours, guided tours, tours with interpretive signs, tours em- ploying new technologies and so forth. Certain borough historical associations are very active in organizing heritage tours. L’Autre Montréal also organizes guided tours that are generally occasional, organized on demand and pertain to difference local topics of interest (public art- work, architecture, community strengths, etc.). Whatever the kind of tour, a key issue is its sus- 5.2.4 FESTIVALS AND EVENTS tainability. Festivals and events are also key ingredients in enlivening and promoting cultural quarters. Despite the major borough role such activities, the fact that they are often concentrated in the downtown How can local cultural tours be supported core frequently a topic of criticism. Lachine’s Festival de Théâtre de rue and Ahuntsic’s FestiBlues and developed not just on an occasional, are two well-known festivals that build on their community’s atmosphere. Similarly, the Montréal but a continuous basis, to ensure their Complètement Cirque festival is often mentioned as a successful example of decentralizing festi- viability? val activities among multiple communities. The boroughs and partners have also underscored the importance of supporting the maintenance and creation of festivals and events that celebrate the 5.2.3 COMMERCIAL ACTIVITY cultural diversity of Montréal’s neighbourhoods. The commercial activity of a cultural quarter is a topic that repeatedly arose during our consulta- How can we encourage the organization of existing or future festivals and events in cul- tions. Most participants at these sessions felt that cultural quarters serve a variety of purposes. A tural quarters? unique and broad-based activity is fundamental to a community’s life and image. Commercial quar- How can we expand the reputation of such activities throughout Montréal? ters are often considered to neighbourhood’s backbone. They not only contain gathering places, but some merchants’ associations organize or support cultural events and activities that have be- 5.2.5 BUILDING CULTURAL BRIDGES come increasingly frequent and are becoming better known within Montréal’s cultural scene. A AND AMATEUR ARTISTIC ACTIVITIES few examples include the Nuit blanche sur tableau noir event on avenue du Mont Royal, Mix’Arts Many of the partners and boroughs we asked on boulevard Saint-Laurent, and the Montréal en arts in the Village. These events help animate and said that cultural involvement is central to the promote a quarter, boosting personal identification with it and increasing support to Montréal’s cultural quarter concept. How indeed can we artists. Local businesses, such as restaurants, cafés, bistros and bars often encourage the kinds of conceive of a community’s cultural development meetings, interchanges and network that underpin the creation and enrichment of a community’s without the participation of its residents? That “social capital.” is why we support building cultural bridges that reach out to those least likely to take part How can we promote greater participation of commercial development associations and in cultural activities and that promote resident of merchants themselves in the growth of cultural quarters? involvement. When we build cultural bridges, residents take an active interest in culture,

40 particularly with respect to introductory art activities, amateur art workshops and meetings or discus- 5.3 PLANNING PROGRAMS AND TRANSPORTATION sions with artists at libraries and other cultural venues. Six main questions were raised during the consultation sessions with respect to planning programs How can we encourage a maximum number of residents to take part in and thereby enrich for cultural quarters and both external and internal transportation to serve such hubs. the cultural development of their communities? How can we organize activities to build bridges among cultures that will help residents 5.3.1 PUBLIC SPACES: PARKS, SQUARES, STREETS AND PEDESTRIAN CORRIDORS develop a creative view of their neighbourhoods? The maintenance and creation of public spaces (squares, streets and good local parts in which peo- ple can meet each other, engage in festivities and participate in or attend cultural events) is of great importance. For example, there is the new Place Valois, the summertime conversion of a segment of rue Sainte-Catherine Est to pedestrian use, open-air markets, etc. Along the same lines, partners have supported the presence of nature in the city, its preservation and enhancement in the bor- oughs and ultimately the increased importance of pairing nature and culture. The Sault-au-Récollet sector of Ahuntsic–Cartierville borough offers an excellent example of nature alongside historical and architectural heritage. Green spaces like Molson Park, the large La Fontaine Park, its Théâtre de Verdure and new restaurant, just like Promenade Bellerive, play important roles by hosting cultural activities and public artwork, while providing space for leisure activities and entertainment.

How can we plan for and enhance universally accessible public spaces (squares, parks and streets) during their development or redevelopment that will give people a stronger sense of identification with their neighbourhoods? How can we support events for these public spaces and offer a wide range of services (food, restrooms, playgrounds, public presentation and cultural events and street furniture)? How can we promote best practices in the design and development of these public spaces?

The maintenance and creation of public spaces (squares, streets and good local parts in which people can meet each other, engage in festivities and participate in or attend cultural events) is of great importance.

41 5.3.4 LIGHTING Strong interest exists in illuminating cultural spaces and heritage or other important structures. Old Montréal and the Quartier des spectacles are currently the only sectors with lighting plans.

Could a lighting plan be gradually implemented throughout Montréal to spotlight certain buildings and monuments of interest? How should any priorities be established? Should the illumination of buildings be prioritized in sectors subject to new development 5.3.2 STREET FURNITURE or redevelopment projects? Participants at the consultation sessions expressed the importance of good street furniture. 5.3.5 ZONING AND REGULATIONS Should the street furniture used in cultural quarters be distinctive and help give them a Those with whom we met frequently mentioned the zoning and regulation of cultural quarters. particular branding and signature? They raised many questions about bringing culture onboard construction projects, posters, artist workshops and residences and noise. The issue of arts residences and workshops is two headed: it 5.3.3 CULTURAL SIGNAGE involves questions of zoning and regulation, and also pertains to matters of capital investment and The individuals and organizations with which we met throughout Montréal frequently expressed operations. We shall propose possible strategies for the real-estate aspect in section 5.4.3. their concerns about cultural signage. Can we always recognize, identify and easily locate existing cultural sites? Those with whom we spoke said that the cultural signage issue should be resolved as Is it appropriate and feasible to deploy initiatives to include some 1% (or more) cultural quickly as possible. They also said that the city administration should work with the boroughs and facilities or artwork in certain construction projects based in cultural quarters as well as in with cultural and tourist organization partners to formulate a cultural signage action plan.45 major projects, special construction projects, modification or occupancy of a building and projects that require a development agreement? What assessment should be made of existing cultural signage tools? How can we meet needs for free and cultural posting, particularly in future cultural What are the top priorities for work to arrive as a satisfactory solution? quarters? How can we all more proactively enable and facilitate the development of artist workshops and residences?

45 Cultural signage also includes all issues pertaining to directional, identification and interpretive signs.

42 5.3.6 ACTIVE TRANSPORTATION AND QUALITY OF LIFE Transportation issues are subjects of great con- cern, particularly in terms of transportation to and transportation within the borough and the cultural quarter. Boroughs furthest from down- town Montréal have also expressed the desire to have access to the BIXI network. Many other factors pertaining to planning programs and transportation were raised, including the role assigned to pedestrians, bike paths and security.

How can active and secure transporta- tion be ensured in future cultural quarters? Should future cultural quarters be considered in planning the bike path system and in expansion of the BIXI network? Real cooperation already exists between the public transit and cultural sectors, but how can it be bolstered?

5.4 CAPITAL INVESTMENTS

Three forms of capital investment are of particular interest: public and private cultural facilities, public artwork and artist residences and workshops.

5.4.1 PUBLIC AND PRIVATE CULTURAL FACILITIES Public libraries are engaged in a major 10-year renovation, expansion and construction Many boroughs’ cultural quarters are often linked to municipal facilities that are firmly rooted in the program. How can ensure optimal local ripple effects of these public investments? community and that promote access by all residents to cultural activities. These facilities include The Forum des équipements culturels can provide funding for the renovation, expansion libraries, municipal cultural venues in the Accès culture network, a cultural or recreational commu- and construction of cultural centres (réseau Accès culture). How can ensure optimal local nity centre or a municipal museum. Cultural and heritage activities (in all forms) are more diversified ripple effects of these public investments?46 in some boroughs. Private cultural facilities, such as movie theatres, bookstores and art galleries Should special attention be paid to planned public and private cultural facilities in future that are often firmly established in a community or a local cultural venue supplement public cul- cultural quarters? tural spaces, particularly in the case of outlying boroughs and those located far from downtown Montréal. Many accordingly feel that this civic, cultural or village centre is the cultural sector to be enhanced and developed. Many boroughs’ cultural quarters are often linked to municipal facilities that are firmly rooted in the community and that promote access by all residents to cultural activities.

46 The same question will apply to recreational centres once the assessment of amateur art activities has been completed in late 2012.

43 5.4.2 PUBLIC ART 5.4.3 ARTIST WORKSHOPS AND RESIDENCES Participants in our consultation sessions repeatedly mentioned the importance of permanent public Several boroughs and partners have expressed an urgent need to take action on the issue of art- artwork and temporary installations within the local cultural and artistic scene. One example of the ist residences and workshops. Ville-Marie’s Quartier des spectacles must deal with this issue, just importance given to public art: is the Pôle de création des Faubourgs, which wants to install a major like certain outlying boroughs. Many artists in Sud-Ouest and Plateau–Mont Royal are departing, work of public art serving as a symbol that will enhance the identification of residents with their for example, because of the paucity of workshops that are affordable or meet existing regulations. community and make it stand out from the rest of Montréal. Several boroughs and partners feel that Two court cases under this heading were Grover47 in Ville-Marie and more recently 5555, avenue public artwork is a crucial component of future cultural quarters. Several boroughs, incidentally, de Gaspé48 in Plateau-Mont Royal. As we mentioned in section 5.3.5, the issue of artist workshops contain little public artwork. must be considered from the perspective of regulations and real-estate. The acquisition of build- ings to install artist workshops could be a solution that would ensure the survival of this function in How can we enrich the art scene of cultural quarters by installing public artwork? a cultural quarter. Strategies have previously been proposes, particularly by the CDEC Pole-Sud/ What role should residents and businesses play in selecting and installing such work? Plateau–Munt Royal49 and by Culture Montréal.50 This issue appears among the commitments of How can new attention to cultural quarters be used to publicize municipal and private Montréal’s Cultural Development Policy,51 the 2007-2017 Montréal Cultural Metropolis action plan public art collection and improve support to existing initiatives (such as murals)? and Montréal’s Economic Development Strategy.52 A proactive approach must be adopted in view of the importance of this matter to the vital- ity of several cultural quarters and to Montréal’s development as a cultural metropolis.

One example of the importance given to public art: In view of the strategic artistic, cultural and economic importance, how can workshops is the Pôle de création des Faubourgs, which wants to install for artists and artists be enhanced and developed throughout Montréal? a major work of public art serving as a symbol that will enhance the identification of residents with their community 5.5 MANAGEMENT AND COORDINATION and make it stand out from the rest of Montréal. Various parties have emphasized the importance of providing daily management and coordination services to future Montréal cultural quarters. In view of local dynamics and stakeholders present in each borough, it seems certain that cultural quarter management models will be designed on a case-by-case basis and will vary not only from one borough to the next, but within different quarters of the same borough.

How can we maintain cultural quarters over the long term? What management models seem to be most appropriate?

47 ville.montreal.qc.ca/commissions 48 leplateau.com 49 cdec-cspmr.org/memoiresculture 50 culturemontreal.ca/en/publications/-1/page-1/ 51 Montréal (2005). Politique de développement culturel 2005-2015, p.76-77 52 sdemontreal.com

44 45 6 CONCLUSION

46 At one time described as “the city of 100 church bells” and at another as a “pastiche of miniature homelands,” Montréal now consists of 19 boroughs and a multitude of local neighbourhoods, each as rich and distinctive as the next. As described above, the Cultural Quarters project seeks to facili- tate the discovery and showcasing of these often little-known treasures.

Following adoption of its Cultural Development Policy and the 2007-2017 Montréal Cultural Metropolis Action Plan, the city has been working, in conjunction with its cultural partners, the higher levels of government and businesses, toward increased access to and the enrichment and development of culture.

Plans are already in the works to enhance and boost the renown of the historic borough of Old Montréal, the Quartier des spectacles, the historic and natural borough of Mont Royal, as well as specialized hubs such as the Cité des arts du cirque and the Espace pour la vie.

The cultural quarter is a concept that can be adopted and adapted throughout Montréal based on local needs for cultural development and urban planning. The areas for further study that we propose in this document are specifically geared to stimulate the broadest possible dialogue on what we want to be cultural quarters, along with actions to support their creation or development.

This discussion occurred at the same time as work is beginning on the future Montréal Development Plan, which will guide our efforts in terms of urban planning and development. It also arises out of the city’s endorsement of the commitments and principles of Agenda 21 for Culture, which shall now inspire our endeavours.

The fall of 2012 will constitute the midway point of the 2007-2017 Action Plan. Working to enhance and develop cultural quarters is a promising project for initiating the second half of this decade of cultural development. Making this project a reality will also be an original, enduring and democratic manner of celebrating our city’s 375th birthday in 2017!

47 7 BIBLIOGRAPHY AND APPENDIX 48 BIBLIOGRAPHY

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Ville de Montréal (2007). 2007-2017 Montréal Cultural Metropolis Action Plan, Montréal, 16 pp.

49 APPENDIX

ACRONYMS USED P. 20 L’Entrepôt, arrondissement de Lachine © Ville de Montréal Jules Lasalle, Monica, 1985, Promenade Père-Marquette, arrondissement de Lachine, Collection Ville de Montréal © Ville de Montréal UCLG United Cities and Local Governments P. 21 Quartier des spectacles © Partenariat du Quartier des spectacles, Martine Doyon DAA Daniel Arbour & Associés MCCCF Ministère de la Culture, des Communication et de la Condition féminine Quartier des spectacles © Partenariat du Quartier des spectacles, Martine Doyon RAC (program) Rénovation, Agrandissement et Construction P. 22 Aires libres sur la rue Saint-Catherine © Emma Buttin UNESCO United Nations Educational, Scientific and Cultural Organization P. 23 Casa del popolo © Véro b. Journée internationale de la danse © Emma Buttin P. 24 Arrondissement du Sud-Ouest © Ville de Montréal PHOTO CREDITS P. 25 Bibliothèque, arrondissement d’Ahuntsic–Cartierville © Ville de Montréal Maison de la culture de Côte-des-Neiges, arrondissement Côte-des-Neiges Notre- Dame-de-Grâce P. 5 Performance de Thierry Schickes à la maison de la culture Maisonneuve, © Ville de Montréal Festival transatlantique / Quartiers danses, 2009 © Michel Pinault P. 26 Pierre Bourgault, Le Village imaginé, 2005, Parc Marguerite Bourgeoys, arrondissement du Sud-Ouest P.7 Quartier des spectacles © Partenariat du Quartier des spectacles, Martine Doyon © Ville de Montréal Théâtre de Verdure © Ville de Montréal P. 27 Chat des artistes, Atelier 216 © Hélène Brown Activité maison culturelle et communautaire de Montréal-Nord © Ville de Montréal Parc, arrondissement de Lachine © Ville de Montréal P. 8 Café Olimpico, Mile End © Emmanuel Milou P. 28 Couper-croiser © Mathieu Rivard Patrick Coutu, Source, 2010, Collection Ville de Montréal © Michel Dubreuil P. 29 Fête de quartier, arrondissement de Villeray–Saint-Michel–Parc-Extension © Ville de Montréal P. 9 Parc-nature de l’Île-de-la-Visitation © Ville de Montréal P. 30 Parc-nature de l’Île-de-la-Visitation, arrondissement d’Ahuntsic–Cartierville © Ville de Montréal Murale Plateau–Mont-Royal © Martin Ujlaki Marché Côte-des-Neiges, arrondissement de Côte-des-Neiges–Notre-Dame-de-Grâce Exposition photographique © Geneviève Auclair © Ville de Montréal Tam-tam sur le mont Royal © Emma Buttin Marché Atwater, arrondissement du Sud-Ouest © Ville de Montréal P. 11 Orchestre Métropolitain © Ville de Montréal Commerce boulevard Saint-Joseph, arrondissement de Lachine © Ville de Montréal P. 12 Bibliothèque, arrondissement d’Ahuntsic–Cartierville © Ville de Montréal P. 31 Avenue Bernard et Théâtre Outremont, arrondissement d’Outremont © Emma Buttin P. 13 Guillaume Lachapelle, L’attente, 2009, Parc Belmont, arrondissement d’Ahuntsic – Cartierville, Cinéma Beaubien, arrondissement de Rosemont–La-Petite-Patrie © Geneviève Auclair Collection Ville de Montréal © Ville de Montréal Vente de livres, arrondissement du Plateau–Mont-Royal © Ville de Montréal Quand les designers s’affichent, 2007 © Bureau du design, Ville de Montréal Maison de la culture Frontenac, arrondissement de Ville-Marie © Ville de Montréal Impromptu à la TOHU © Emma Buttin Bibliothèque Maisonneuve, arrondissement de Mercier–Hochelaga-Maisonneuve © Ville de Montréal Théâtre La Roulotte, Pinocchio © Emma Buttin Centre Jean-Marie Gauvreau, arrondissement de Villeray–Saint-Michel–Parc-Extension P. 16 TOHU © Ville de Montréal © Véronique Vallée Jardin Botanique et Stade olympique © Ville de Montréal P. 32 Foule Festiblues, arrondissement d’Ahuntsic–Cartierville © Audrey Allard P. 17 Café, arrondissement du Plateau–Mont-Royal © Ville de Montréal Collège Saint-Laurent, arrondissement de Saint-Laurent © Ville de Montréal Concerts Campbell dans au parc Ahuntsic © Ville de Montréal Magie à Anjou, arrondissement d’Anjou © Ville de Montréal P. 19 Temple bar © budgetplaces.com P. 33 Maison culturelle et communautaire de Montréal-Nord, arrondissement de Montréal-Nord © Ville de Montréal Temple bar © Trish N. Moulin Fleming, arrondissement de Lasalle © Patrick Donovan Nouvo Saint-Roch © Guy St-Vincent Théâtre Corona, rue Notre-Dame Ouest arrondissement du Sud-Ouest © Alecz Inca Nouvo Saint-Roch © Yvan Gagnon Centre culturel de Pierrefonds, arrondissement de Pierrefonds–Roxboro © Louis Rachiele

50 Façade Collège Gérald-Godin, arrondissement de L’Île-Bizard–Sainte-Geneviève© Ehran Holm 2009-2011 CONSULTATION SCHEDULE Lancement de la programmation, arrondissement de Rivière-des-Prairies–Pointe-aux-Trembles © Ville de Montréal P. 34 Festival cirque, arrondissement de Verdun © École de cirque de Verdun MUNICIPAL CORPORATE DEPARTMENTS Centre Leonardo da Vinci, arrondissement de Saint-Léonard © Ville de Montréal Conseil des arts de Montréal Semaine italienne, arrondissement de Rosemont–La-Petite-Patrie © Abdallah Direction de la culture et du patrimoine Vue extérieure du Musée des maîtres et artisans du Québec, arrondissement de Saint-Laurent Direction de la diversité sociale © Martin Lominy Direction des grands parcs et du verdissement P. 37 Promenade Wellington © Ville de Montréal Direction du développement économique et urbain (et Bureau du design de Montréal) Nuit blanche sur Tableau Noir © Ville de Montréal Direction des transports Art urbain © Ville de Montréal, Marie-Ève Bonneau Direction des Muséums nature de Montréal Marché Jean-Talon © Véronique Vallée P. 39 Maison Saint-Gabriel © Pierre Guzzon P. 40 Défilé de mode © Ville de Montréal BOROUGHS Circuit historique canal de Lachine © Ville de Montréal Ahuntsic-Cartierville L’artiste, l’œuvre, le citoyen, 2010, projet médiation culturelle © Ville de Montréal Anjou P. 41 Jams de la place de la gare Jean-Talon, Projet hors les murs © Michel Pinault Côte-des-Neiges–Notre-Dame-de-Grâce Point de rencontre, une intervention de Giorgia Volpe au square Cabot, Dare-Dare © Ville de Montréal Lachine Place Valois © Geneviève Auclair LaSalle L’Île-Bizard–Sainte-Geneviève P. 42 Lumière Vieux-Montréal © Photographe masqué Mercier–Hochelaga-Maisonneuve Abribus Langelier © Ville de Montréal Montréal-Nord P. 43 Cyclistes canal Lachine © Ville de Montréal Pierrefonds–Roxboro Maison de la culture Villeray–Saint-Michel–Parc-Extension © Marie-Ève Bonneau Rivière-des-Prairies–Pointe-aux-Trembles Théâtre Denise-Pelletier © Geneviève Auclair Rosemont–La Petite-Patrie P. 44 Chat des artistes, Atelier 216 © Hélène Brown Saint-Laurent Lisette Lemieux, Regard sur le fleuve, 1992, Parc Stoney-Point, boulevard Saint-Joseph, Saint-Léonard arrondissement de Lachine, Collection Ville de Montréal © Ville de Montréal Verdun P. 45 Coopérative Cercle carré © Emma Buttin Ville-Marie Les Bobards © Francis Mariani Villeray–St-Michel–Parc-Extension Rue Jarry © Ville de Montréal Outremont Sandra Lachance, Vieux Jeux, Art Souterrain, 2011 © Art Souterrain Plateau–Mont-Royal P. 47 Semiconductor performing, where has the future gone at Mutek © Caroline Hayeur Sud-Ouest Enfants © Ville de Montréal K Design, Un arbre/un contrat, Paysages éphémères sur l’avenue du Mont-Royal, 2005 © Caroline Hayeur

51 CULTURE

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