International Architectural Design Competition

INTERNATIONAL ARCHITECTURAL DESIGN COMPETITION Presentation of the architectural proposals received as part of this contest for boldness and innovation CULTURAL AND ADMINISTRATIVE COMPLEX OF MONTRÉAL Front cover: competitors’ scale models Back cover: models in the urban environment

3 1. Opus 4 / Busby + Associates, Proscenium Architecture, Beauchamp Bourbeau Réal Paul, Arcop, architects 2. Saucier + Perrotte / Menkès Shooner Dagenais, architects

2 3. De Architeken Cie. + ÆdificaTPL Architecture 4. Cohlmeyer Architects Limited / Provencher Roy et associés architectes / Jodoin Lamarre Pratte et associés architectes / Cardinal Hardy et associés architectes 5. NOMADE + Lemay

4 5

La Société immobilière du Québec wishes to thank all those who contributed in any manner to the production of this document. TABLE OF CONTENTS

Message from the president of the jury ...... 2

Competition jury ...... 4

Architectural proposals ...... 5

Laureate De Architekten Cie. + ÆdificaTPL Architecture ...... 6

Finalists Cohlmeyer Architects Limited / Provencher Roy et associés architectes, Jodoin Lamarre Pratte et associés architectes, Cardinal Hardy et associés architectes ...... 10 NOMADE + Lemay ...... 12 Opus 4 / Busby + Associates, Proscenium Architecture, Beauchamp Bourbeau Réal Paul, Arcop, architects ...... 14 Saucier + Perrotte / Menkès Shooner Dagenais, architects ...... 16

Honourable mention recipients 3XNielsen A/S ...... 18 Hal Ingberg architecte / Birtz Bastien Architectes...... 19 Hillier ...... 20 Lea Zeppetelli, architect / O.I. Jean Beaudoin ...... 21 Massimiliano Fuksas Architetto ...... 22

Participants in the first stage of the competition...... 23

1 MESSAGE FROM THE PRESIDENT OF THE JURY

Merits and Legacy of the Competition Georges Adamczyk, Jury President

A Clearinghouse of Original Ideas and Solutions sible for staging this event, the Société immobilière du Québec discharged its mission efficiently, fairly, and to lasting benefit. The international architectural design competition for the Cultural and Administrative Complex of Montréal generated In their respective capacities as competition advisor and sec- considerable enthusiasm from the time of its launching in retary of the event, Mr. André Leguerrier and Mr. Roch Maltais summer 2002, as it was the first international competition of brought enlightened leadership to the project, a contribution its kind to be held in Québec. Through this initiative, the which proved decisive to successfully organizing and running Government of Québec reasserted its determination to grant this major competition, an initiative of the Government of architectural innovators a leading role in the province’s cul- Québec. With the support of the members of the technical tural development. committee, the competition advisor and the secretary ensured strict enforcement of the competition rules, absolute equity A veritable clearinghouse of original ideas and solutions, this among participants, compliance with the principles respecting competition represented an opportunity for pooling the the confidentiality of the authors, and transparency in the research and viewpoints of architects and experts active in selection process. In addition, they provided the president Québec and around the world, along with those of young and the members of the jury with invaluable, insightful assis- firms that have staked out more radical positions concerning tance and kept the project on target with its stated objectives. technical, practical, aesthetic, and planning-related inno- vations. This competition will thus have made an invaluable The make-up of the jury is always a highly sensitive affair, as contribution to the promotion of architecture in Québec. the members should give no indication of harbouring any particular leanings. In the present case, the jury selection process The competition was based on a program having three main attested to a spirit of openness and a steadfast determination objectives: providing the Orchestre symphonique de Montréal to foster animated debate and balanced judgment among the (OSM) with a permanent “home” and a world-class concert jurors. Moreover, the prospect of lively deliberations over the hall, offering the Conservatoire de musique et d’art dramatique major issues of urban planning, architecture and culture raised du Québec à Montréal (CMADM, or Montréal music and theatre by innovative architectural approaches was an additional arts conservatory) a building equipped with specialized equip- argument in favour of eliciting the participation of noted archi- ment in keeping with the institution’s needs, and erecting a tects Oriol Bohigas and Toyo Ito. While their ideas and government building in the Montreal area. The scale of this achievements offer a study in contrast, both authorities share program and the characteristics of its components were con- a distinguished record of actions and influence in urban archi- sonant with the planning issues surrounding the site, located tectural design. The quality of the jury, as a group, served to in the heart of Québec’s cultural metropolis. These particular enhance debates and shape the informed, if occasionally con- requirements, coupled with the objective of meshing com- tested choices that stemmed in all cases from open discussion, ponents so as to produce a coherent yet heterogeneous urban as well as the majority decisions that provided the ultimate whole, compelled finding inventive, innovative solutions. basis for the final consensuses and unanimous decisions. An Organization Equal to the Challenges at Hand As the result of its performance, in terms of organization and implementation alike, this competition has established norms The conduct and management of the competition were equal and criteria that are likely to be looked to as models whenever to the challenges of this ambitious initiative, as was the work international competitions, whether public or private, are of the members of the technical committee and jury, whose launched in Québec in the future. role was advisory. Furthermore, as the organization respon- 2 The Selection The Laureate In the first stage, the selection criteria fell into two different De Architeckten Cie. + ÆdificaTPL Architecture was categories based on the project’s conceptual and technical awarded top honours owing to its ability to bring together, aspects. The first category included the urban planning and within a single typology, the features appropriate to a multi- conceptual approach; the expression of the architectural function building while also satisfactorily responding to the scheme; and the response to symbolic and functional expec- architectural and urban issues surrounding the proposal. The tations, as well as the clarity and detail of the project presentation. seeming simplicity of the proposed construction turns out, The technical aspects covered budget, compliance with the upon closer examination, to possess a more complex geom- architectural design program, technical feasibility, and the etry. Both the drawing and the scale model reveal a polymor- potential for spatial organization in relation to planning objec- phous construction of interior horizontal and vertical spaces tives. It should also be noted that the identity of candidates offering a surprising degree of diversity and potential. was revealed only once the period of candidacy had ended and the jury’s recommendations had been officially approved A Legacy for the Promotion of Architecture and accepted. The value of architectural design competitions extends In the second stage of the competition, the jury’s deliber- beyond their contribution to education, research and experi- ations, taken as a whole, brought out the range of difficulties mentation, their concern for transparency and the dissemin- involved in making choices, given not only the quality of the ation of information, and their invitation to open public entire set of proposals but also the specific, distinct aspects of debate. There is also, at the very outset, the contribution of each. The criteria used to evaluate proposals at this stage also the many architects who responded to these invitations and fell into two categories: architectural aspects, on the one who, so doing, were prompted to question their own hand, and general evaluation and compliance-related approaches and delve into their technical and creative aspects, on the other. More specifically, the architectural resources. Such, in short, are the merits on which this event is aspects consisted of the formal intent and resolution of archi- likely to bequeath an enduring legacy. tectural composition; the insertion in context (site and build- For these merits and this legacy, I should like, in my capacity ing); the quality of spaces, particularly in public areas; the as chairman of the jury, to express my deep appreciation to organization of space, traffic, connections between project the many people who replied to our invitation and who, components; the response to symbolic and functional expec- thanks to the quality of their proposals, helped make this tations; the choice of materials (durability and upkeep); the competition a major professional event. My thanks go, as strategies for inception of sustainable development; and the well, to the members of the jury and the technical commitee clarity and detail of the project presentation itself. General for their contribution to this resounding success. aspects of evaluation and program compliance included the functional and operational approach adopted in respect of the As professor and director of the Université de Montréal target objectives; the implementation plan, as concerns compli- School of Architecture, I also hope to encourage students in ance with future work completion schedules; technical feasibility architecture and young professionals to seize this exceptional with respect to the integration of the structural framework and opportunity to examine all of the competition design proposals the electrical, mechanical and theatre planning services; and and to eagerly draw on them as a source of inspiration and compliance with the design program. expertise when serving the cultural development of Québec. 3 COMPETITION JURY

Voting members Substitute members Mr. Georges Adamczyk, designer, Director School **Mr. Pierre Boyer-Mercier, Architect of architecture Editor of the journal ARQ - Architecture Québec Université de Montréal, Montréal (Québec), Canada Montréal (Québec), Canada President of the jury Mr. Germain Courchesne, Architect *Mr. Oriol Bohigas, Architect and Urban planner Financial and material resources direction MBM Arquitectes S.A. Ministère de la Culture et des Communications Former Director, Graduate Technical School Montréal (Québec), Canada of Architecture, Barcelona, and former Director ***Mr. Richard de la Riva, Architect of Urban Planning for the city of Barcelona, Spain Affleck + de la Riva Architectes Mr. Pierre-Denis Cantin Montréal (Québec), Canada Director General, Administration Mrs. Julie-Anne Leclerc Ministère de la Culture et des Communications Head of administrative and financial services Jury for the first stage: Québec (Québec), Canada Juan Vargas, Jean-Pierre Joly, Madeleine Careau, Canadian Centre for Architecture Pierre-Denis Cantin, Oriol Bohigas, Germain Mrs. Madeleine Careau, General Manager Montréal (Québec), Canada Courchesne, Toyo Ito, Georges Adamczyk Orchestre symphonique de Montréal Mr. Juan Vargas, Architect (President), Denys Marchand, Julie-Anne Montréal (Québec), Canada Leclerc, Sophie Charlesbois, Pierre Boyer- Director, Architecture and engineering unit, Montréal Mercier, David M. Covo, André Leguerrier Mrs. Sophie Charlebois, Architect Société immobilière du Québec (competition advisor), Roch Maltais (jury Guest lecturer at the School of Architecture Montréal (Québec), Canada secretary). Université de Montréal, Montréal (Québec), Canada

Mr. David M. Covo, Architect Mr. André Leguerrier, Architect Director of the School of Architecture Competition advisor McGill University, Montréal (Québec), Canada Société immobilière du Québec ***Mr. Toyo Ito, Architect Mr. Roch Maltais, Attorney-at-Law Toyo Ito & Associates, Tokyo, Japan Jury secretary Mr. Jean-Pierre Joly, Architect Société immobilière du Québec Director, Architecture and engineering unit, Québec Société immobilière du Québec Québec (Québec), Canada Mr. Denys Marchand, Architect Retired professor from the School of Architecture and Faculty of Urban Planning Université de Montréal Montréal (Québec), Canada

* Mr. Oriol Bohigas, absent from the second stage of the competition, nonetheless examined the proposals and transmitted his comments to the president of the jury. ** Mr. Pierre Boyer-Mercier was obliged to withdraw from the jury at the second stage of the selection. 4 *** Mr. Toyo Ito, absent from the second stage of the competition, was replaced by Mr. Richard de la Riva, who served in the capacity of voting member. ARCHITECTURAL PROPOSALS

Laureate De Architekten Cie. + ÆdificaTPL Architecture (Amsterdam, The Netherlands, and Montréal (Québec), Canada)

Finalists Cohlmeyer Architects Limited / Provencher Roy et associés architectes, Jodoin Lamarre Pratte et associés architectes, Cardinal Hardy et associés architectes (Winnipeg (Manitoba) and Montréal (Québec), Canada) NOMADE + Lemay (Montréal (Québec), Canada) Opus 4 / Busby + Associates, Proscenium Architecture, Beauchamp Bourbeau Réal Paul, Arcop, architects (Vancouver (British Columbia) and Montréal (Québec), Canada) Saucier + Perrotte / Menkès Shooner Dagenais, architects (Montréal (Québec), Canada).

Honourable mention recipients 3XNielsen A/S (Århus, Denmark) Hal Ingberg architecte / Birtz Bastien Architectes (Montréal (Québec), Canada) Hillier (Princeton, United States) Lea Zeppetelli, architect / O.I. Jean Beaudoin (Montréal (Québec), Canada) Massimiliano Fuksas Architetto (Rome, Italy)

Participants in the first stage of the competition Presentation according to official entry number

The Québec National Archives Centre of Montréal hosted an exhibition on the competition, from August 5th to August 30th 2003. 5 LAUREATE

De Architekten Cie. + ÆdificaTPL Architecture (Amsterdam, The Netherlands and Montréal (Québec), Canada)

Consortium composed of: A BEACON IN THE CITY square, to be dotted with courtyard cafés and enlivened by ceremonial activities, fans out into areas of activity De Architekten Cie. Standing to the north of the Îlot Balmoral, the Montréal close by the stores inside the ground floor of the (Amsterdam, The Netherlands) cultural and administrative centre opens onto a plaza Wilder Building. Ædifica inc. to the south. The existing heritage buildings thus come Les architectes Tétreault Parent more sharply into view, their personalities standing The Complex Languedoc et associés out with greater distinctiveness. A new building at the (Montréal (Québec), Canada) corner of Rue Sainte-Catherine and Rue Jeanne-Mance This slitted cube gives an impression of strength, dis- endows the block with further definition. This addi- tinguishing the complex as a showcase for the arts, tional structure enhances aspects of scale and carries education, and public administration. The designed over the commercial function of Rue Sainte-Catherine. volume seems to entertain a dialogue with the neigh- At the same time, it delimits the outdoor plaza, which bouring buildings of the fur district. The glass-covered acts as an extension of the new complex. This verdant overhang of the symphony hall, located above Rue Jeanne-Mance, is astonishingly audacious. The fenes- tration of the rehearsal halls adjacent to Rue de Bleury piques the curiosity. Pedestrians moving along Rue Sainte-Catherine will be attracted by the floating Conservatory and accompanying loggias. Each of the façades of the main building volume mirrors the surrounding cityscape, whereas the street-level frag- ments of coloured glass both reflect and integrate the surrounding hustle and bustle.

Modelled bird’s-eye view

Details: main structure, voids, 6 General plan view and functions The Forum and the Public Areas The outdoor plaza/square provides access to the indoor forum, an agora opening onto its immediate environment. From the square, a broad underground passageway links with Rue Sainte-Catherine, where, at the corner of Rue Jeanne-Mance, the heart of the forum is located. True to its function of hub, this forum will be a point of convergence and connectivity for the three main components that the building program is intended to serve. Two huge “balconies” impart structure to the forum space. The administrative balcony, which overlooks the outdoor plaza, signals the ceremonial entrance of Rue Sainte-Catherine façade the government component, while the cultural balcony, overhanging the centre of the forum, serves as a zone of transition toward the foyers, exhibit areas, and festivity locations. The balconies, the musicians’ floor, and the floor reserved for various halls and rooms embrace the voids in a series of angular, juxta- posed planes, as if to mirror an inverted city skyline within the forum itself. Program components are articulated around two main openings in the building. The first such opening traverses the cube horizontally, connecting Rue de Bleury and Rue Jeanne-Mance along the axis formed by Rue Mayor. Then, a vertical shaft connects the forum and the roof. Both voids thus materialize the strength of the design concept. Cut into the mass of Rue Jeanne-Mance façade the glass cube, they constitute its x- and y-axes, filling a structural function as well as stabilizing the building laterally. They act as conduits of light and circulation for the cube, not only visually but literally as well, for they are designed to play a role in energy management and the ventilation systems.

7 The Orchestre symphonique de Montréal Together, the forum and the huge overhanging balcony act as an entryway leading into the lobby of the concert hall, leading concert-goers from the hubbub of the outside world into a hushed environment. The impressive outer glass skin shows off the hall to the city and represents one of the outstanding features of the place. The rehearsal hall, which is also encased in glass, may likewise be viewed from outside.

The Conservatory The Conservatory’s vertical zoning serves to group public components together at the levels reserved for the concert and recital halls, while classrooms, rehearsal rooms, and studios are located on the upper storeys so as to take advantage of a quieter Plan of 2nd storey Plan of 12th storey environment that is conducive to study. The loggias facing outdoors and the balconies overhanging the passageway along the Rue Mayor axis underscore the identity of the Conservatory in the plaza and offer students locations where they may meet or rest.

The Administrative Spaces The office spaces are located around three atriums that are bathed in daylight. Broad floor surfaces create indoor streets lit by natural light, thus promoting interaction and making it possible to pool shared functions and rest areas. By using heritage buildings for administrative purposes, all design program objectives have been achieved.

Text prepared by: De Architekten Cie. + ÆdificaTPL Architecture

Plan of 3rd storey Plan of 13th storey

8 Transversal cross section Longitudinal cross section

Elevations of main building façades (unfolded)

Interior schematic view Comments by the jury (taken from the jury’s report) • project consonant with major trends in international architecture: spirit of modernism; • project which, through its outstanding architectural response, signals that one is now entering the Quartier des spectacles (i.e. show district); • architectural concept offering potential for promotion, enhancing the city’s signature; • unique urban space is created through an approach aimed at pairing a contemporary volume with heritage objects—an approach that is at once innovative and mindful of heritage; • project which is totally integrated with the Place des Arts and the urban fabric of the fur district; • dynamic place of transition between an underground Montréal and a new, above-ground Montréal; • bold planning gesture, as project has primarily targeted the northern portion of the block for development.

9 FINALIST

Cohlmeyer Architects Limited / Provencher Roy et associés architectes, Jodoin Lamarre Pratte et associés architectes, Cardinal Hardy et associés architectes (Winnipeg (Manitoba) and Montréal (Québec), Canada)

Consortium composed of: THE SPIRIT OF MUSIC Cohlmeyer Architects Limited The theme of music is central to this project. (Winnipeg (Manitoba), Canada) Thus, through the unveiling of experiences, Provencher Roy et associés expectations, and remembrances, the complex architectes showcases an intertwining of functions, the Jodoin Lamarre Pratte et ambiguous definition of the building footprint, associés architectes the strong presence of the formal courtyard, Cardinal Hardy et associés Longitudinal cross section architectes the surprising transparency of the “crystal gar- (Montréal (Québec), Canada) den,” the splendour of the concert hall, and the liveliness of the performing arts area. The complex is a place in the city, embodying a street, a public space, and a memory all at the same time. The building is designed as a veil that wraps around the site. Its enigmatic presence and ambiguity define the site while also leaving it free.

The Plaza The plaza consists of three distinct spaces: the formal courtyard, the green space, which offers refuge and contemplation, and the roof deck crowns the concert hall. The formal courtyard constitutes a ceremonial entrance leading to the concert hall. This hall can be reached from the courtyard, the Metro, or Rue Sainte-Catherine. Modelled bird’s-eye view

Plan of 1st storey Plan of ground floor

10 The Orchestre symphonique de Montréal The Orchestre symphonique de Montréal faces Boulevard de Maisonneuve. Passers-by are thus able to view the multi-level main lobby, as well as the concert hall suspended at the summit, the musicians’ lounge, the conductor’s ceremonial staircase and the Orchestra’s spacious rehearsal hall. During concerts, the audience and the twinkling lights will be visible through high glass walls overlooking Rue Jeanne- Mance and the interior courtyard. Perspective: entrance to the central courtyard

The Conservatory The Conservatory’s street-level presence is under- scored by the preserved façade of the Blumenthal Building bordering Rue Sainte-Catherine. The different levels of the ground floor are designed so as to form a coherent, solid entity behind this façade. The windows overlooking the rehearsal areas located throughout the Conservatory can be opened, thus filling the central courtyard with music.

The Administrative Building and the “Crystal Garden” The “crystal garden,” forming the entrance hall to the administrative centre, is a glass cube brimming with light and greenery. It is a place to contemplate. The interior layout of the garden is visible from the Metro, Elevation: Rue Sainte-Catherine the street, as well as the inner courtyard. Comments by the jury (taken from the jury’s report) Text prepared by: Cohlmeyer Architects Limited / Provencher Roy et associés architectes, • a project inspired by democratic ideals, reaching out to people through its cultural and symbolic scope; Jodoin Lamarre Pratte et associés architectes, • an enchanting, poetic design; Cardinal Hardy et associés architectes • a design that is innovative, bold, spectacular, and dynamic in its organization; • a proposal full of high-quality micro-architectural events; • an initiative that redefines possibilities for large-scale multifunctional urban projects; • a flexible volumetry offering good potential for adaptation and change; • dynamic interaction with underground Montréal made possible by direct access to the Metro.

11 FINALIST

NOMADE + Lemay (Montréal (Québec), Canada)

Consortium composed of: A CULTURAL CATHEDRAL NOMADE architecture inc. Les architectes Lemay et associés Urban Approach (Montréal (Québec), Canada) The architectural scheme of the project seeks to restructure the urban fabric in a way that gives it cohesion and shapes its future development. The project thus proposes to: • reconstruct the perimeter of the Balmoral block by building a basilar structure at the height of the Blumenthal Building and thus restore a critical density for the sector while reducing the destructuring effect of the current empty spaces; • clearly define the entrances to the project’s three components—the Orchestre symphonique de Montréal on Boulevard de Maisonneuve, the Conservatory on Rue Sainte-Catherine and the administrative building on Rue Bleury—in a way Modelled bird’s-eye view that reflects the dynamism characterizing both of these streets and their intersec- General plan view Plan of ground floor tions; • provide a meaningful exterior urban space at the site’s hub, where it can be linked directly to the Place des Festivals (a park), as well as the Cinéma Impérial and the Blumenthal Building, which are the sector’s heritage jewels; • create clearly identifiable urban structures as a means of organizing the project and conferring meaning on the whole. The Longitudinal cross section archetype of the “Cathedral” is a natural point of reference in an urban, cultural and musical framework and it is a source Perspective: main hall of inspiration for the formal aspect of the project. 12 Symbolic and Formal Approach The project is articulated around the “Nave,” a conceptual element that provides the design with structure. Along its north-south axis, linking Rue Sainte-Catherine with Boulevard de Maisonneuve, it brings together the three components of the building program. The “Nave” sets out a processional path leading up to the “Chancel” and the Orchestra’s concert hall. From a functional viewpoint, the “Nave” constitutes a central space serving to interconnect the public halls (the Orchestra’s concert hall, the Conservatory’s concert hall, the Théâtre Jean-Valcourt, the multi-media rooms and facilities for recitals and great ensembles).

Functional Approach The design of the central space, or “Nave,” serves to combine isolated areas of the design program by pairing spaces for movement and those for repose. The foyers of the public halls are thus integrated with the central vertical space of the “Nave” to create a striking over- all effect. Elevation: Rue Sainte-Catherine

Summary The concept of a “cultural cathedral” offers a means of expressing a coherent architectural gesture and providing the project with meaning in its urban con- Comments by the jury (taken from the jury’s report) text. The concept lends support to present and future • very good layout of the project along Rue Jeanne-Mance, a more convivial layout; events in the sector, represented by the Cinéma • effective “basilaire” (i.e. podium); Impérial and the Place des Festivals. It also reflects • treatment of the interior courtyard, along Rue Bleury, that enhances the Cinéma Impérial; the distinctive character of the project’s three compo- • tower constituting a clear response to the administrative presence; the tower’s position on the podium, set back nents—namely, the Orchestra’s home, the Conservatory from Place des Arts is strategically effective and does not interfere with exterior public spaces; and the administrative building. • the shape of the tower is designed to mitigate the effects of wind; • a dynamic space for pedestrian traffic; Text prepared by: NOMADE + Lemay • a playful spatial experience designed with concentric ramps and stairs; • interior space given dynamism by the linking of three semi-subterranean halls; • quality of the Conservatory; its potential for evolution and adaptation.

13 FINALIST

Opus 4 / Busby + Associates, Proscenium Architecture, Beauchamp Bourbeau Réal Paul, Arcop, architects (Vancouver (British Columbia), and Montréal (Québec), Canada)

Consortium composed of: OBJECTS IN AN ORCHARD Busby + Associates Architects Ltd. The place is integrated harmoniously into its sur- Proscenium Architecture + roundings, fleshing out the grid of the cultural com- Interiors Inc. (Vancouver (British Columbia), plex already constituted by the Place des Arts and the Canada) Musée d’art contemporain de Montréal. The project celebrates the quality of urban living in Montréal, a Beauchamp Bourbeau Réal Paul, architects city well known for its plethora of festivals. The general Le Groupe ARCOP configuration of the complex encourages an embrace (Montréal (Québec), Canada) of the street, emphasizing the unique character of each of the thoroughfares that delimit the site. The Orchestre symphonique de Montréal’s concert hall makes its presence felt through its specific form, even while it encourages urban entertainment all around its borders. The Conservatory completes the cultural dimension of this block, using a similar architectural language at a more modest scale. The administrative building integrates existing volumes while maintaining its distinctiveness.

A green platform, the “orchard,” recalling the site his- General plan view Plan of 1st storey tory, provides a symbolic and functional connection between programmatic components. This vast green surface, home to indigenous, many-hued plants, covers traffic networks and the Conservatory spaces and service areas. It also provides a natural amphitheatre for ceremonial events. Outwardly, it reaffirms the status Modelled bird’s-eye view of Rue Jeanne-Mance as an ideal festival site and the host of numerous Montréal festivals.

Transversal cross section

14 The concert and performance halls are finished in materials that evoke the instruments played within. By day, the concert halls, alloyed in zinc and copper resemble the Orchestra’s brasses. By night, the halls are like woodwind instruments that open onto the street. The interior wood finishes gives crystallize the image of a living cultural symbol in the heart of the city. It must be mentioned that the approach used for this Elevation: Rue Sainte-Catherine design favours pedestrian access to the Orchestra’s home from Rue Sainte-Catherine. This particularity speaks to the ecological and environmental concerns addressed in the project. Moreover, each of the components benefits from a distinct street address—one for the Orchestra’s home on Rue Sainte-Catherine, another for the Conservatory on Rue Jeanne-Mance, and yet another for the administrative building on Rue Bleury. These entrances thus open onto the streets most used by pedestrians, in contrast to Boulevard de Maisonneuve, which is characterized by fairly heavy vehicular traffic. The approach adopted is respectful of the broad issues engendered by the symbolic program of the Elevation: Rue Jeanne-Mance project, while retaining its human scale. Clearly, this approach favours the individual—that is to say, the Comments by the jury (taken from the jury’s report) pedestrian—and the quality of the urban environ- • innovative, playful design; ment. Such concerns align themselves readily with • site layout that reinforces the area’s identity as a festival centre; the particular status of this sector and the special role • halls, objects and landscaped sloped roof that harmonize very well with the esplanade between Place des Arts and it plays as a place of gatherings and festivities. the Musée d’art contemporain de Montréal; • generous opening onto Rue Saint-Catherine and near Rue Jeanne-Mance, constituting an invitation to the public on Text prepared by: the part of the Orchestre Symphonique de Montréal; Opus 4 / Busby + Associates, Proscenium Architecture, Beauchamp Bourbeau Réal Paul, Arcop, architects • scale of the façade on Rue Bleury corresponding to that generally found on nearby arteries: Saint-Alexandre, Mayor, de Maisonneuve and President-Kennedy; • presence of nature in the city; • design showing sound environmental strategies; • integrated strategy for recycling buildings; • interest of interior traffic following the line of the Ruelle Balmoral (an alley), assuring an intimate yet effective flow route.

15 FINALIST

Saucier + Perrotte / Menkès Shooner Dagenais, architects (Montréal (Québec), Canada)

Consortium composed of: FOR A NEW URBAN TOPOGRAPHY The New Horizon Saucier + Perrotte architectes At a height of 26 metres, a garden lies atop the new Menkès Shooner An Urban Ensemble horizon. Above the Orchestra’s concert hall, the Dagenais Architectes undulations of this new ground are the result of the (Montréal (Québec), Canada) The layout and organizational strategy of the project addresses two scales simultaneously. On the urban intense pressure exerted by the music: the strata split scale, the “mega-block” layout deconstructs the open, allowing light to reach the foyers, and providing north-south axis of the surrounding buildings (Place access to the garden which slips under the base of the des Arts, the Desjardins and Guy-Favreau complexes, tower to become an interior winter garden. the Palais des congrès) and reconciles them with the structure of the downtown core. On the human scale, the “mega-block,” which as an urban form is usually closed in on itself, is here made to serve opposing purposes through the interior organization set out around the courtyard. This court acts as a lung, creating a constant flow of communication and bringing into resonance the interior spaces that surround it. Sitting on both Rue Jeanne-Mance and Boulevard de Maisonneuve, the future home of the Orchestre symphonique de Montréal is inserted directly between two public spaces, the Place Eugène-Lapierre, and Modelled bird’s-eye view the courtyard. To the north, the edge of the built volume is aligned with the adjacent structures, thus emphasizing the new Place des Arts complex. As for the Conservatory, it provides structure to Rue Bleury, which is already graced with cinemas and concert halls. Plan of 1st storey Plan of 2nd storey

The Courtyard The envelope of coloured concrete strata is split and carved throughout. These conspicuous openings located at strategic points offer views of the block’s very heart, opening it up to the urban space. Activities in the courtyard and the circulation around it link the elements of the complex’s program design.

16 The Orchestra’s Home On the façade along Boulevard de Maisonneuve, strips of luminous, opalescent glass alternate with the concrete strata and inform the passers-by of the current program events. On the other side, the Orchestra’s home opens onto the quieter space of the interior courtyard, protected from the flow of urban traffic. Between these two dynamic forces lies the concert hall, which adopts a concentric shape. Elevation: Rue Sainte-Catherine

The Conservatories The public spaces—that is, the concert halls and theatres—are visible from the street. The strategy advocates the separation of the two conservatories (music and theatre arts) by the lobby’s vertical garden set along the axis of Rue Mayor, and provides access to the courtyard.

Text prepared by: Saucier + Perrotte / Menkès Shooner Dagenais, architects

Longitudinal cross section

Comments by the jury (taken from the jury’s report) • project growing out of an approach that gives prominence to each component’s entrance and thus to each component’s identity; • good integration of existing buildings; • good urban link with the esplanade of Place des Arts and the future Place des Festivals (a park); • open nature of the outer north side created by the building’s being set back from Boulevard de Maisonneuve; • excellent location and quality of the hall for the Orchestre symphonique de Montréal; • originality shown in the use of the roof, which offers a new view of Mount Royal; • appreciation of “materiality” and the expression of the basilar structure’s façades; the strata in the outer façades are aesthetically interesting; Hanging gardens • elegance of the tower, which is accomplished in a subdued fashion.

17 HONOURABLE MENTION RECIPIENT

3XNielsen A/S (Århus, Denmark)

The structure consists of a three-level elevated plateau, three translucent tapered drums and three closed volumes that house performance halls. All of these elements meet at the surface of the plateau. The shells of the drums provide three vast natural light openings, circumscribing three underground halls, like bulbs planted beneath the earth. The public, cultural, political, commercial and administrative functions are united in this structure. The block is transformed into a spectacular opening in the heart of the city. The elevated plateau creates a dynamic and diverse public urban space that connects with the three adjacent streets via stairways. The three entities comprising the structure represent three independent transparent beacons, built around Modelled bird’s-eye view a dense core surrounded by light filigrees. The materiality of the drums is provided by artificial lighting, which adds a further physical and visual dimension to the three components. The alternating colours of the argon create a visual temporal pulse for day and night and are visible at all times. The lighting can be accentuated on the shell or from the core of the tapered drums, thereby providing an impression of change. The rounded, aerodynamic shape of the tapered drum causes the wind to slide around the buildings. Perspective: foyers of the Orchestra’s The turbulence problems encountered by some sky- concert hall scrapers are therefore reduced, as is wind resistance. The diameter of the tapered drum decreases with alti- tude.

Adapted from a text by: 3XNielsen A/S

Longitudinal cross section

18 HONOURABLE MENTION RECIPIENT

Hal Ingberg architecte / Birtz Bastien Architectes (Montréal (Québec), Canada)

The Maison de l’Orchestre symphonique de Montréal glass whose randomly distributed horizontal bands is set back from Rue Sainte-Catherine in order to cre- create a subtle, quilt-like surface pattern. Each build- ate a significant urban agora and public presence for ing surface is the object of extraordinary optical the institution on Montréal’s main street. The effects that vary, depending on light conditions. Administrative tower is placed on Boulevard de Adapted from a text by: Maisonneuve to minimize the casting of shadows Hal Ingberg architecte / Birtz Bastien Architectes within the central courtyard, while the Conservatory is located along Rue de Bleury because its low-rise stature is in keeping with that of this street. The buildings rest upon a landscaped podium that runs the entire length of Rue Jeanne-Mance. This strategy endows the complex with a sense of grandeur and creates multi-use elevated plazas. The roof and ground level surfaces of the complex are treated as a fifth façade, with the ensemble reading Modelled bird’s-eye view from the sky like a gigantic Paul Klee—like urban tableau. The Conservatory’s drama studios are located along the entire length of the podium’s glass façade, at 1.5 m below street level. Pedestrians are transformed into spectators for the practising students, thereby an- imating Rue Jeanne-Mance with “street theatre for Transversal cross section urban voyeurs.” The Complex is conceived as an urban chameleon that seamlessly infiltrates its context, while establishing unique, expressive qualities. Via visual alignments and dramatic contrast, its massing creates harmonious scale Perspective: Orchestra entrance, corner of Sainte-Catherine and Jeanne-Mance relationships with the existing built environment and within the Complex itself. The Orchestra building is fitted in a glittering veil of golden tones which intensifies the sense of percep- tual richness and grandeur appropriate for the ritual of symphonic music. The Administrative building is wrapped in a curtain wall of four shades of pale blue

Elevation: Rue Jeanne-Mance

19 HONOURABLE MENTION RECIPIENT

Hillier (Princeton, United States)

The initial gesture creates a “macro block,” a simple to filter through them. The entire block becomes a yet large-scale form. This form matches the 11 to 12— performance arena, with citizens and musicians “on storey building height datum established in the stage” as they go about their daily work. neighbouring fur district, continuing and extending Adapted from a text prepared by: this to the Îlot Balmoral. Hillier Into this simple form a cut is made: the “coupe du soleil” (the cut of the sun). This incision of light traces and distorts the path of Rue Balmoral, allowing light to penetrate deeply into the block. The public is invited to move through this incision, which creates internal linkages between design program components and urban areas. The coupe du soleil thus establishes connections between the Place des Festivals and the future green space to the north of the site. It also links this project to the city’s extensive underground com- Modelled bird’s-eye view mercial and transportation network. The programmatic elements of each of the project’s components interweave and overlap within the block, Transversal cross section creating an interlocking composition of public, private, cultural, retail, and office spaces. The spaces of the Conservatory become a lyrical element as they fold upward into the coupe du soleil. Practice rooms and studios are opened to light as well as to views from adjacent program elements. The OSM Concert Hall is lifted above street level and its surface is peeled up along the elevation of Boulevard de Maisonneuve to create a great awning and mar- quis, revealing what was formerly a closed world to an open city. The administrative offices weave between and around these dynamic gestures, with views into and through each program component. Perspective: atrium The façade facing the fur district is animated by bou- tiques to facilitate movement and connectivity. Perspective: Orchestra entrance Elsewhere, the vertical surfaces of the block are dema- terialized as scrims, screens, and masks, allowing light

20 HONOURABLE MENTION RECIPIENT

Lea Zeppetelli, architect / O.I. Jean Beaudoin (Montréal (Québec), Canada)

The project seeks to reveal the site’s urban potential through an anchoring of the north-south poles, as well as through an east-west design interface. To the north, the administrative tower serves as a portal to the sector and is a symbol of the Québec government’s urban presence. To the south, the home of the Orchestra enhances the cultural character of the area. From west to east, the Conservatory expresses a segmented program sequence and offers spatial openings to an urban garden. An open passageway Longitudinal cross section accessible from Rue de Bleury leads to the Conservatory’s entry hall on one side and overlooks footbridges in the garden toward Rue Jeanne-Mance. The project is linked together by pathways—a “glass corridor” giving access to the gardens and the Metro, Modelled bird’s-eye view a “Promenade des festivals,” which integrates all forms of transit, and walkways through the garden. The Orchestra concert hall consists of a suspended Elevation: Rue Sainte-Catherine and luminous double wooden shell enveloped by its foyers. Structural footbridges connect the latter. The hall seemingly floats over a vast concourse below, providing continuity at ground level between the street and the garden. Echoing the concert hall, the administration tower consists of an illuminated glass mural whose two façades of offices envelop an inner service hall. This hall space, a vertical mosaic of wood and glass that heighten the building’s identity and its luminosity, creates passageways and footbridges accessing and connecting the offices on either side. While anchored below to the Metro and broadcast areas, the hall also opens horizontally at each level to a series of vertical winter gardens. These gardens mark the eastern face Perspective: Orchestra entrance, corner of Sainte-Catherine and of the tower and unify its different storeys. Jeanne-Mance

Adapted from a text by: Lea Zeppetelli, architect / O.I. Jean Beaudoin

21 HONOURABLE MENTION RECIPIENT

Massimiliano Fuksas Architetto (Rome, Italy)

The starting premise of the complex, which rises over two levels, is the duality between Montréal’s above- ground world and its underground city, a duality in which the buildings, and that of the Orchestra in particular, have a power relationship. The design consists of three clearly defined buildings, which in conjunction with the existing buildings, define two distinct free spaces. A three-storey main concourse, acting as a major intersection, connects the underground to the surface. The administrative building, the “keeper” of the block, towers over the public space. The Conservatory is comprised of a system of rigid, superimposed “boxes,” creating vertical connections Modelled bird’s-eye view between the passageways and the static spaces. The suspended volume of the Orchestra defines the topography of both the surroundings and the under- lying plaza. The base of this volume extends through the outdoor plaza to the underground public space.

The topography of the outdoor plaza is highlighted in Transversal cross section the treatment and artwork of the underground ceiling, while the main lighting is provided by the glass rosette in the pavement of the plaza around the base.

Adapted from a text by: Massimiliano Fuksas Architetto

Perspective: Orchestra entrance, Boulevard de Maisonneuve

Longitudinal cross section

22 PARTICIPANTS IN THE FIRST STAGE OF THE COMPETITION

By the end of the first stage of the competition, the Société immobilière du Québec had received 112 design concept proposals originating in 23 countries around the world. With one of that number being disqualified for failing to comply with the competition rules, 111 proposals were thus examined, first by the technical committee and then by the jury.

Number of projects according to country

Argentina: 9 China: 1 Italy: 6 Norway: 1 Taiwan: 1 Austria: 1 Denmark: 1 Japan: 5 Romania: 1 Turkey: 1 Belgium: 1 France: 8 Mexico: 1 Spain: 2 United Kingdom: 2 Canada: 37 Germany: 3 Monaco: 1 Swaziland: 1 United States: 24 including 28, Québec Israel: 1 Netherlands: 1 Switzerland: 3

Presentation of design concept proposals according to official entry number. Name of architect, firm, or consortium of architects represented in the first stage.

1 Bernard Tschumi 2 De Architekten Cie. 3 Fargas-Rovira Arquitectes 4 Stephan Braunfels Architecte S.A.R.L. The Netherlands i Associats SL Architekten BDA France Participant, 2nd stage Spain Germany

23 PARTICIPANTS IN THE FIRST STAGE OF THE COMPETITION

5 St-Gelais Montminy Architectes 6 François Lafontaine, Claude 7 Faucher Architectes 8 Massimiliano Fuksas Architetto Québec, Canada de Passillé, René-Luc Desjardins, Québec, Canada Italy Jean Couture Honourable mention recipient Québec, Canada (1st stage)

9 Studio SM2 10 Paul Andreu Architecte – ADP 11 Putzmann + Partner 12 Emilio Ambasz & Associates Inc. United States Ingénierie Architectes Architekten United States Ingénieurs (consortium) Germany France

DISQUALIFIED

13 AWA Architects 14 Z02 Architects 15 Lafontaine Langford, 16 Architectes Lemay et associés France Switzerland arch./David Fontaine, Québec, Canada arch./Leclerc et associés Québec, Canada 24 17 Régis Côté et associés, architectes, 18 Touraine + Richmond 19 Fumio Toki Associates 20 Gabellini Associates, LLP Roberto Terradas Muntanola Architects Japan United States (consortium) United States Québec, Canada

21 SMA/Sky Mountain Architects 22 Workshop For Architecture 23 Artech Architects 24 May & Pinska, LLP United States United States Taiwan United States

25 William Douglas Muir Architect 26 L’ESCAUT architecture – 27 Murat Arif Suyabatmaz 28 ASTIL United States scénographie – exposition Architect Romania SPRL + Jan Zoubek Turkey Belgium 25 PARTICIPANTS IN THE FIRST STAGE OF THE COMPETITION

29 Hal Ingberg architecte/ 30 Fabrizio Bastoni, Paolo De Vito, 31 John Sergio Fisher & Associates 32 Ruccolo + Faubert Architectes Birtz Bastien Architectes Claudio Fioramanti Architetti United States Québec, Canada Québec, Canada Italy Honourable mention recipient (1st stage)

33 Coeuret-Hayet-Berthomier- 34 eCLECTIC 35 Cohlmeyer Architects Ltd. 36 Becker A. Daniel, Ferrari Claudio, Chautard-Rocher (consortium) (consortium Gaetan-Sedlacek) Manitoba, Canada Leston Eduardo Arquitectos France United States Participant, 2nd stage Argentina

37 Lea Zeppetelli, architect, with 38 Burckhardt + Partner AG. 39 Hernãn César Bernabo 40 Rouleau Archambault the collaboration of O.I. Jean Switzerland Arquitecto Architectes Beaudoin and Intégral Ruedi Baur Argentina Québec, Canada Québec, Canada 26 Honourable mention recipient (1st stage) 41 Atelier Yann Brunel 42 NAçO Architectes 43 Keith Loffler Architect 44 Campanella & Associés France France Ontario, Canada Québec, Canada

45 Carlos Ott & Associés Inc. 46 GGGMR 47 Jeff Stacey & Jeremy Rose 48 Cannon Design Québec, Canada Argentina (association) United States Switzerland

49 Pierre Thibault, architect and 50 Keiji Kanada Architect 51 Asymptote Architecture 52 3XNielsen A/S collaborators & Associates United States Denmark Québec, Canada Japan Honourable mention recipient (1st stage) 27 PARTICIPANTS IN THE FIRST STAGE OF THE COMPETITION

53 BBBSA Architecture 54 Bélanger Beauchemin, 55 Kling 56 Barry F. Will Architect & Urban Design architectes United States China Argentina Québec, Canada

57 Eric Owen Moss Architects 58 Denis Allen Desrochers, 59 Berger + Parkkinen Architekten 60 Desnoyers Mercure et associés United States architect ZT GmbH architectes Québec, Canada Austria Québec, Canada

61 Michael Brisson Architect 62 EYE/CR 63 Antonio Lagorio Architetto 64 Hillier Ontario, Canada United States Italy United States Honourable mention recipient (1st stage) 28 65 George Friedman Architect 66 Lapointe Magne et associés 67 Zeidler Grinnell Architects 68 Padrevecchi, Taramasso, Ontario, Canada Québec, Canada Ontario, Canada arquitectos Argentina

69 NOMADE architecture Inc. 70 Office of Peter Rose 71 DOM3 (consortium) 72 KDJ Québec, Canada United States Israel Norway Participant, 2nd stage

73 Glaserworks 74 Peter Cardew Architects 75 Nichifutsu Sekkei Co. Ltd. 76 Les Architectes Boutros + Pratte United States British Colombia, Canada Japan Québec, Canada

29 PARTICIPANTS IN THE FIRST STAGE OF THE COMPETITION

77 Jakob + Macfarlane S.A.R.L. 78 NFOE et associés architectes 79 Atelier Big City with O.E.U.F. 80 Les architectes Corriveau, d’architecture Québec, Canada Québec, Canada Dionne et Girard/Fichten France Soiferman et associés Québec, Canada

81 Arquitecto Mario Roberto 82 David Hu Architect 83 Busby + Associates Architects Ltd. 84 Architects Barbara Dewhirst Alvarez y Asociados United States British Colombia, Canada André Lessard Argentina Participant, 2nd stage Ontario, Canada

85 Anne Zimmermann 86 Frédéric Tardif, 87 Smith-Miller + Hawkinson 88 Atelier Bellini SRL United States Guillaume Beaudoin, Architects LLP Italy Brigitte Lessard United States Québec, Canada 30 89 KLM Kelly-Lestard-Maldonado 90 DZO Architecture 91 Assael Architecture Ltd. 92 Les architectes FABG Arquitectos United States United Kingdom Québec, Canada Argentina

93 Takamatsu Architects 94 Office for Metropolitain 95 Quadrangle Architects Ltd. 96 Atelier Christian & Associates Architecture, PC Ontario, Canada de Portzampac/ABCP arch.-urb. Japan United States (consortium) France

97 Coll.-Leclerc Arquitectos, S.L. 98 Quattro Associati 99 Dan S. Hanganu, architect 100 Saucier + Perrotte architectes Spain Italy Québec, Canada Québec, Canada Participant, 2nd stage 31 PARTICIPANTS IN THE FIRST STAGE OF THE COMPETITION

101 Atlantis Associates Co. Ltd. 102 Luc Laporte, architect 103 Consortium 104 Casuscelli, Fontana, Net, Pisati, Japan Québec, Canada ARCOP/Provencher Roy Vazquez, Testa & Yermoli/Associated Québec, Canada Architects and Engineers United States

105 A-P-R-I-L 106 Behnisch, Behnisch & Partners 107 ALSOP Architects Ltd. 108 LCM/Fernando Romero Italy with Architects Alliance United Kingdom Mexico Germany

109 M/SG/S/S/S 110 Fabrice Notari, architect 111 Campagno, M.P., 112 A – Sponge Argentina Monaco Cingari R./Lescano, R., Pena, E. Switzerland Argentina 32 This document was produced by the Communications unit To obtain further copies in either French or English, please contact: of the Société immobilière du Québec La Société immobilière du Québec Project supervision Direction des communications Catherine Lessard, Édifice Marie-Fitzbach Director, Communications 1075, rue de l’Amérique-Française Québec (Québec), Canada G1R 5P8

Production manager Telephone: (418) 646-1766, extension 3461 Renée Dumoulin, Email: [email protected] Communications advisor

Production assistance André Leguerrier, Architect Competition advisor

French revision Josée Côté, Copywriter and Reviser

English translation Donald Kellough and Jane Macauley, Translators

Photography Louise Leblanc, Photographer (from presentation boards and scale models of the laureate, finalists, and honourable mention recipients). Jocelyn Gagnon, Architect, Société immobilière du Québec (photo of jury)

Modelled bird’s-eye views (pages 23 to 32) Participants in the first stage of the competition

Design and layout Mille Images

Legal deposit – 2004 Printing Bibliothèque nationale du Québec J.B. Deschamps ISNB (English version) – 2-550-4151-8 Electronic version available on the SIQ website at: www.siq.gouv.qc.ca