ARQ, 1 avril 1989, Avril

[" POINTE h-799 mmmm wmmk j H mm wmm mmmm mma KS V '\\\\v\\\tV-VJn\ta \\ \\ \\\\&y fl\t\t \t\tæaÆyk //(\t\t \ttT\\ \\vVC>'rOA\\ \\\\ \\\\\\ \\ / A \\ V\tulX\t\t MSm IH -> *.:\".c ; \u2022.\u2022¦U- ' C\u2019est pourquoi, bien que| notre collection de stratifiés la plus vaste au monde, Boomerang émerge comme un thème décoratif tout à fait sp! cial.Après tout, en dépit des courants de la mode, avec Formica est une marque déposée de Formica Corporation.Formica Canada Inc.est un usager inscrit.°1989 Formica Canada Inc. s X rsm il m V a m m ' i\\ a /F\te / V t / / \\ I ' J / / ISS» / ri / ( \\ -\t3 *1* «MhpBwrJ , \\§* .49 / c - .y g / / / I / / / I / I / I / il\tf / / V^T7\t»¦ 1 ! \\ < ÜhCI ÉTAIT DESTINÉ À REVENIR DANS LES ANNEES 80 Hnerang, vous êtes assurés 1 fi (tir® o hoso ¦ ¦ ¦ ÿ ôtou tard, il revient! jtà« iK Pour obtenir plus de détails et des échantillons gratuits, utilisez notre ligne téléphonique nationale en composant le 1-800-363-1405.Nous couvrons les surfaces du globe MC LA QUALITÉ Le seule façon de donner de la valeur à votre maison.\u201cJ\u2019ai passé les 17 dernières années à concevoir et faire le design de \u2018maisons de rêve\u2019 sur mesure à travers le pays.Cela m\u2019a notamment appris comment donner de la valeur à une maison ou à une rénovation de façon durable.D\u2019abord, il faut de bonnes idées et tout de suite après, les meilleurs matériaux! HJTT Et pour que mes maisons de rêve offrent une qualité vraiment durable, j\u2019exige les portes et les fenêtres Hunt et Pella.Les produits Hunt et Pella permettent aux designers de donner vie à leurs bonnes idées tout en garantissant une excellente qualité de construction et une grande efficacité énergétique.Les cadres de bois massif isolent mieux que l\u2019aluminium ou le vinyle et, à l\u2019intérieur, leur fini représente un beau plus côté décoration.Que vous bâtissiez ou que vous rénoviez votre maison de rêve, il vaut toujours la peine de miser sur la qualité véritable.Les portes et fenêtres Hunt et Pella ont le don de mettre en valeur votre maison.\u2019\u2019 .J\u2019exige toujours les portes et les fenêtres Hunt et Pella pour mes maisons de rêve.Jamais rien d\u2019autre!\u201d Allan Ross, irfzoncepteur/constructeur Remplissez le formulaire ci-dessous et postez-le à: Portes et fenêtres Hunt, 1040 Wilton Grove Roacf, London, Ontario N6A 4C2 r L Veuillez m\u2019envoyer votre dépliant gratuit sur les portes, les fenêtres et les solariums.Je prévois: ?rénover ?agrandir ?construire à neuf Nom __________________________________________________________ Adresse_______________________________________________________ Ville Prov C .P.___________________________________________ _____\t_____ARQ 04/89 1 I I I I J Pour de plus amples renseignements sur la pose, le service et autres, rendez-vous à la salle de montre Hunt la plus près.Consultez les Pages jaunes.L\u2019art de mettre en valeur votre maison.CÔTE OUEST PRAIRIES mÊÊÊ CENTRE DU CANADA ri» CANADA FRANÇAIS .: .\" JL I ' ffifaii'i -fjgj\t7i3 ni® 1st\t,->Wm\tm |\": .uJMili\t!!!¦ Portes et Fenêtres MARITIMES Reproduction autorisée pour l\u2019Excellence. >s7 Un choix dbptions de choix Les robinets Alterna\"0.Choisissez les robinets qui vous offrent toutes les options-les robinets AlternaMC de Kohler.Créez une harmonie de tons entre les robinets, les appareils sanitaires et l\u2019environnement décoratif avec les ornements en céramique offerts, en option, en 24 couleurs Kohler.Le nouveau système d\u2019ornements est offert dans une vaste gamme d\u2019autres matériaux y compris le bois, différents métaux, l\u2019onyx et les pierres semi-précieuses.On peut aussi l\u2019obtenir avec motifs champlevés ou monogramme, sur commande.Choisissez parmi une variété de becs et cinq finis différents.La cartouche céramique sans rondelle du système C* de Kohler assure des années de service fiable.Avec les robinets Alterna* de Kohler, seules la qualité et la fiabilité ne sont pas en option.KOHLERSOR DE [ORDINAIRE Voyez votre distributeur Kohlerou écrivez à: Kohler Ltée, 7575, route Transcanadienne, Bureau 305, Ville Saint-Laurent (Québec) H4T 1V6 ou composez (514) 745-0408 COMMUNICATIONS SOLEIL LTÉE Mttwnttttntu frf?} Prélude à l'originalité, Op.1 Les motifs tissés en superposé du tapis Opus permettent toute une gamme de fantaisies en décoration.Opus de Peerless.un prélude à l'élégance et à l\u2019innovation grâce à un tout nouveau procédé.Seule Peerless vous offre l'exclusivité et l'originalité d'un tapis semblable à Opus, car seule Peerless fabrique ses tapis par touffetage superposé -(overtufting).Opus de Peerless témoigne de cette innovation.Des fils de nylon AntronMD XL de Du Pont de différentes couleurs et de qualité supérieure sont montés par touffes superposées (overtufting) sur une base teinte de poils coupés, composant ainsi une harmonie d'éclats unique.En tout, huit variations de couleur vous permettent de créer une suite presque illimitée de décors.Le procédé est unique.L'oeuvre est sans égale.Et l'occasion sans pareille.En effet, grâce au touffetage superposé (overtufting), Peerless vous invite à réaliser vos propres motifs, interprétations libres de vos envies en matière de décoration.LA CORPORATION DES TAPIS PEERLESS C.R 944, Place Bonaventure Montréal (Québec) H5A1E8 Tél.: (514) 878-6800 Fax : (514) 878-6829 DuPont ANTRON XL EERLESS Un des plus grands fabricants de tapis du Canada w n souffle d'air frais peut être fatal pour un immeuble.La plus petite des fuites d\u2019air peut entraîner des pertes d\u2019énergie et être la cause de faiblesses structurales.Donc, quand il s\u2019agit de choisir une membrane pare-air, il est logique de considérer tous les avantages offerts par le produit.Prenez la nouvelle membrane pare-air de Rberglas Canada.Elle est fabriquée pour résister à la rupture et être à l\u2019épreuve du temps.De plus, sa grande souplesse à hautes et à basses températures vous permet de l\u2019installer par temps très chaud comme par temps très froid.Elle se soude facilement au chalumeau et a un pouvoir d\u2019adhérence élevé là où la surface sous-jacente peut bouger.Tout bien considéré, c\u2019est le meilleur matériau que vous puissiez trouver.Alors pourquoi vous essouffler à trouver le matériau qui s\u2019impose?Exigez la membrane pare-air de Fiberglas Canada et respirez librement.COUPEZ LE SOUFFLE À VOTRE IMMEUBLE ET RESPIREZ Fiberglas CANADA INC LES PRODUITS FIBERGLAS! POUR FAIRE BONNE IMPRESSION.lîfejfSS*®5'-'! Stf*wSfSiJv \t\t GRAYBEC DIVISION BETCON La brique BETCON lap/us que parfaite des //^parfaite.?GRAYBEC INC.DIVISION BETCON 475, Place Trans-Canada Longueuil, Québec, J4G 1P4 Tél.: (514) 651-4000 Mtl : (514) 861-6097 Le nouveau béton d\u2019Agresta Une combinaison de force et légèreté auxquelles ne peuvent prétendre que les « ouvrières » de la nature.Le nouveau béton d\u2019Agresta.Facile à mélanger, facile à couler, facile à travailler.Et ce ne sont là que quelques-unes de ses nombreuses qualités.Agresta est un granulat de bois stabilisé qui permet la production d\u2019un béton de haute qualité deux à trois fois plus léger (selon recette) qu\u2019un mélange traditionnel.Et il est, au même titre que le bois, sciable et clouable.Sa légèreté lui procure un avantage unique dans nombre d\u2019applications.Ses qualités d\u2019isolation acoustique et thermique sont particulièrement efficaces.Idéal pour la réalisation de dalle isolante sur sol, ou de chape de renfort sur plancher, il est également à l\u2019épreuve du feu, caractéristique essentielle pour la sécurité et la tranquilité d\u2019esprit.Que vous soyez architecte, ingénieur ou entrepreneur, pensez à Agresta pour vos prochaines constructions en neuf ou en rénovation.Agresta la force des bétons légers porteurs isolants.Métrique Imperial Résistance à la compression à 28 jours 8 MPA 1160 Ibs/ po1 Masse volumique 1200 kg/m3 75 Ibs/p3 Un produit Agrestech 1310, Avenue Greene Bureau 600 Westmount, (Québec) CANADA H3Z 2B1 Téléphone: (514) 939-0022 Télécopieur: (514) 931-8695 ¦ \u2022 : * iSSfe rift; feâfeÉÉlS w&m \u2019Zhtr-H- ¦\tV .tilisez les meilleurs stratifiés décoratifs haute pression sur le marché.Ajoutez 40 ans d\u2019expérience et 40 ans d\u2019attention aux besoins des clients.Choisissez parmi 120 couleurs, 53 motifs et37 similibois.Remarquez un souffle nouveau, une influence d\u2019une multinationale d\u2019avant-garde en produits de décoration intérieur.Vous y trouverez inspiration des quatre coins du monde! Pour bien réussir, laissez libre cours à votre imagination.MONTREAL Forbo-Arborite Inc., 385, avenue Lafleur, LaSalle, Québec H8R 3H7 Tél.: (514) 366-2710 TORONTO Forbo-Arborite Inc., 8300 Keele Street, Concord, Ontario L4K 1B8 Tél.: (416) 661-2351 1 MmMmpI T \\ I / Cettétechnologie d'avant-garde porte le nom d'HYDROVAC *: un procédé de fabrication exclusif vous permettant sir ne de choisir le.degré de résistance à la compression tout en maintenant le coefficient R et la résistance à l'humidité.Prenez notre Celfort 200.Il s'agit d'un panneau de typeJHà faible densité possédant une foule de caractéristiques.On peut s'en servir pour de nombreuses utilisations telles que l'isolation intérieure ou extérieure de.murs de maçonnerie ou dè-çharpente, et l'isolation de murs de fondation.Pour une résistanè&supérieure.il y a aussi notre Celfort 300.un excellent panneau de tyjë Si vous pensez à lïsoîaüpn d une couverture, jetez un coup d'oeil sur notre Foamular.35Ô.C'est la meilleure solution pour les couverturesâs^embrane protégée.Quelle que soit l'étendue à isolelHQiJS la surface du sol ou au-dessus, CeJ£prféc a les produits et la qualité que vous recherchez.Celfortec.Une technologie d'isolation unique, synonyme d'économie.O Isolant de polystyrène extradé MD Celfort est une marque de commerce de Celfortec Inc.* HYDROVAC est une marque de commerce de UC Industries Inc.Fabriqué au Québec par Celfortec Inc., sous licence de UC Industries Inc.Celfortec Inc.C.P 310, Valleyfield (Québec) |6S 4V6 (514) 377-1725 fr-K; MijTjrt -u- X :td:r1 Fra^ *41-0, jjCX TY.^ ' M*\u2018\u2018: 7 ^SSsriSSSBSs ?:\u2022****k()ijosi:d ni i* \u2022 '*-0 v +\t\u2022 * '*\u2022 .S\tul W1 De son enceinte originale sur la colline du Parlement, le gouvernement s\u2019intéressa d\u2019abord à une extension vers l\u2019est: en 1906 il tint un concours architectural par lequel nombre d\u2019édifices, disposés librement le long de voies courbes furent proposés au parc de Major\u2019s Hill.Ce concours fut un échec, et l'idée que le parc disparaisse au profit d\u2019édifices sombra dans l\u2019oubli.L\u2019intérêt du gouvernement pour cette extension vers l\u2019est était motivée par le vieux problème de la création d\u2019un chemin processionnel de l\u2019Hôtel du gouvernement au Parlement.Dans les premières années, pour éviter les routes qui joignaient ces deux pôles, le gouverneur général voyageait par voie d\u2019eau sur une embarcation de la marine - ce qui n\u2019était pas sans poser de problèmes l\u2019hiver.Au début du vingtième siècle deux voies de terres furent étudiées, qui laissèrent quelques traces: les ponts Minto, de charmantes portées de fer traversant la rivière Rideau à partir de la pointe sud de i\u2019île Green; et l\u2019avenue King Edward, élargie en un grand boulevard divisant Lowertown en deux parties et royalement rebaptisée en prévision d\u2019une visite qui ne se réalisa pas.Sussex Drive, une extension de la rue Sussex longeant la rivière des Outaouais en direction de Rockcliffe, fut finalement la solution adoptée, mais ne fut complétée qu\u2019à la fin des années 1950.Avec le parc de Major\u2019s Hill, la rue Sussex devint la frontière est du territoire de la couronne.Quelques années après le concours de 1906, le gouvernement fit ériger le «Royal Mint» à l\u2019extrémité nord de la rue Sussex et, à son extrémité sud, l\u2019édifice Connaught dans l\u2019intention évidente de border la voie d\u2019édifices comparables.Ce projet ne s\u2019étant pas concrétisé, la rue Sussex demeure inégale, avec, du côté est, un alignement d\u2019édifices presque intacts faisant face à un terrain ni urbanisé ni pay-sagé.Le gouvernement s\u2019intéressa ensuite à l\u2019ouest.En 1912, il expropria tout le terrain compris entre l\u2019îlot Ouest et le pont du Portage, acquérant ainsi, pour l\u2019éliminer, l\u2019Uppertown du colonel By.Frederick Todd prépara un pian du lieu proposant des masses régulières de bâti de part et d\u2019autre d\u2019un mail est-ouest ouvert sur la tour Mackenzie.Il élabora un axe nord-sud sur la partie la plus large du terrain avec, sur son promontoire, un édifice isolé.Ce plan abordait tous les problèmes qu\u2019auraient pu rencontrer les planificateurs de cette partie de la ville: usant de son promontoire pour situer un édifice important (analogie à la 8.\tCette vue à vol d\u2019oiseau d\u2019Ottawa en 1876 montre à la lois le Parlement dans son enceinte soignée et les industries le long des chutes de la Chaudière beaucoup plus représentatives de l\u2019économie de la ville.9.\tF.G.Todd, qui fut à l\u2019origine du système de parcs d\u2019Ottawa lors de ses débuts à la Commission pour l\u2019amélioration d\u2019Ottawa, prépara ce plan pour la nouvelle réserve ouest du gouvernement en 1912.10.La Commission fédérale du plan (Rapport Holt), 1915.Le plan Holt fut le premier plan d\u2019ensemble d'Ottawa.Dans ce plan du centre, Holt proposait que le gouvernement utilise à ses fins la rue Elgin et une grande partie du centre commercial de la ville.colline du Parlement); indiquant comment mettre en valeur la tour Mackenzie; comment établir un rapport avec la rue Wellington; et, implicitement, l\u2019usage des styles beaux-arts et gothique.Le gouvernement tint alors un concours à l\u2019échelle de l\u2019Empire pour la réalisation, sur cet emplacement, de nouveaux édifices ministériels.Ce concours fut un autre échec causé partiellement par la publication avant la fin du concours, dans un périodique britannique, d'une proposition de la firme Webb and White.Ces dessins représentent ce qui pourrait être l\u2019ultime argument pour un traitement classique beaux-arts des lieux.Le concours de 1912 ne donna lieu à la construction d\u2019aucun édifice.Dans ces concours architecturaux, le gouvernement ne s\u2019intéressait qu'à ses propres besoins.D\u2019autre part, par le biais de la Commission pour l\u2019amélioration d\u2019Ottawa, les autorités fédérales s\u2019occupaient, un peu, de ce qu\u2019elles pouvait exiger de la ville même.En 1913, une synthèse de ces préoccupations vit le jour avec la création de la Commission du plan fédéral , présidée par sir Hébert Holt.La commission Holt engagea Edward Bennet, un urbaniste dont on se souvient généralement à cause de son association avec Daniel Burnham.Il considéra l\u2019ensemble d'Ottawa et sa relation avec Hull.Le rapport Holt de 1915 est le premier plan d\u2019ensemble d\u2019Ottawa.Les idées qu\u2019il présente et les problèmes qu\u2019il identifie gardent encore toute leur pertinence.Dans son traitement de la rue Sussex et de la colline ouest, le Rapport Holt préserve la plupart des principes établis.Il propose une enceinte gouvernementale repliée sur elle-même et protégée de la ville par des édifices étroitement disposés le long des rues Sussex et Wellington, la pelouse du parlement s\u2019avançant seule vers la ville.Le plan de Holt modifiant la majeure partie de la ville commerciale était, de beaucoup, le plus ambitieux des plans jusqu\u2019alors proposés.Le Rapport Holt introduisit à Ottawa l\u2019idée qu'une capitale doit posséder de grands boulevards par lesquels la ville rend hommage au gouvernement.Cependant, le plan élémentaire d\u2019Ottawa et la distribution de la propriété foncière ne se prêtant pas aux axes beaux-arts, on pouvait difficilement y construire une perspective monumentale en ligne avec la tour du Parlement.Ottawa offrait plutôt des vues obliques et pittoresques de l\u2019ensemble du Parlement.Un désir de monumentalité réussit tout de même à émerger: Holt proposa la construction d'une grande place au-dessus du canal et des voies de chemin de fer qui longeaient alors sa rive est, ce qui aurait éliminé l\u2019effet de surprise d\u2019une vue oblique du Parlement.La proposition eut, à long terme, l\u2019effet de singulariser la rue Elgin devenue une avenue cérémoniale potentielle.La génération suivante fit passer la place proposée par Holt à l\u2019ouest, sur la terre ferme et proposa d\u2019ériger un monument de la guerre au centre de cet espace cérémonial.HULDIXGS 'W/F yfcjBBEs&i ¦[\u2018n'Wty- rtfnfflrttE \u201d, \u201e\tirw\"\u2019« n-t SregKjfl il IwViÊridflhi rhrrnfi- zsmm aam iûd ter ETrbs H BBa $É|S§ Au moment de sa publication, la première guerre mondiale avait déjà mis l\u2019exécution du rapport Holt en péril.Après la guerre, le gouvernement s\u2019employa pendant quelques années au remboursement de ses dettes; il ne pouvait accorder de fonds à la construction de ses propres édifices, et encore moins à des projets de grandes interventions urbaines.Durant cette période d\u2019inaction, le bureau de l\u2019architecte en chef réalisa diverses études portant presque entièrement sur la colline ouest.Petit à petit, la régularité intravertie du plan de Holt fut modifiée en un arrangement d\u2019édifices et de parcs, qui, si il était encore formel, se détendait quelque peu.En 1921, l\u2019édifice de la Confédération émergea de ce processus et établit les lignes directrices du développement de la colline ouest.À la fin des années trente, deux autres édifices, le Palais de justice et la Cour Suprême du Canada furent construits selon ces nouvelles lignes directrices.En 1927 la Commission fédérale régionale (CFR) quelque peu plus puissante que la Commission pour l\u2019amélioration d\u2019Ottawa, remplaça cette dernière en tant qu\u2019agence du gouvernement fédéral chargée de remodeler la capitale qu\u2019on étendit alors jusqu\u2019à Hull.Cependant, à cette époque, la CFR n\u2019avait pas une vision globale de la capitale; les quelques interventions gouvernementales apparurent petit à petit dans la ville, comme l\u2019avaient fait les nouveaux édifices de la colline ouest.On peut attribuer plusieurs des réalisations des années trente au premier ministre W.L.Mackenzie King, qui, de tous les premiers ministres démontra sans doute le plus d\u2019intérêt envers la capitale.Toutes confuses qu\u2019elles aient pu être dans les années précédant la deuxième guerre mondiale, les interventions du gouvernement fédéral établirent le modèle essentiel du coeur cérémonial moderne de la capitale.L\u2019intervention clef du gouvernement fut la localisation du Monument national de la guerre.En 1927, un incendie libéra une importante parcelle de terrain, aujourd\u2019hui le square de la Confédération, qu\u2019acquit promptement le gouvernement.L'étude du monument lui-même se poursuivit au cours des années trente; sa localisation restait cependant incertaine.Au milieu des années trente, le premier ministre entendit parler de l\u2019urbaniste français Jacques Gréber, qu\u2019il invita en 1937, à Ottawa.La localisation du monument de la guerre fut inclus dans le mandat d\u2019étude donné à Gréber, mais les recommandations de ce dernier ne furent pas nécessairement suivies.Les rapports entre Gréber, le CFR et le ministère des Travaux publics sont obscurs, mais il semblerait, qu\u2019il ait offert des conseils d\u2019ordre esthétique au sujet du square de la Confédération et de la place située à l\u2019arrière de la Cour Suprême.Le plan de Gréber de 1938 pour le centre d\u2019Ottawa dut intégrer nombre d\u2019édifices considérés comme un fait accompli.Son plan de la colline ouest est semblable à celui de Holt quoiqu\u2019un peu moins dense.L\u2019axe est-ouest perd de son importance, et le territoire de la couronne le présente pas à la ville, le même mur continu.La version présentée par Gréber du square de la Confédération et son traitement de la rue Elgin sont beaucoup plus réalistes que ceux que proposaient Holt et anticipent plusieurs réalisations ultérieures.Lorsqu\u2019en 1939, le roi dévoila le Monument national de la guerre, le caractère et le dessin du coeur cérémonial de la capitale étaient établis.La guerre débuta cinq mois plus tard marquant la fin d\u2019une époque; subséquemment, le gouvernement fédéral transforma Ottawa plus profondément que jamais, mais sans en modifier le noyau de façon significative.LA CAPITALE DE LA NATION La seconde guerre mondiale centra plus que jamais l\u2019attention nationale sur Ottawa.Après, l'importance de l\u2019image d\u2019Ottawa prit une nouvelle signification tant au plan national qu'au plan international.Rappelant la dédicace récente d\u2019un monument à la première guerre, le gouvernement commença à présenter la capitale même comme nouvau monument national.Les gouvernements du bloc ouest ayant décidé de favoriser la croissance économique pour faire face au problème de la démobilisation, c\u2019est à la fois l\u2019affluence et la fierté qui caractérisèrent le contexte du développement de l\u2019Ottawa d\u2019après-guerre.Le gouvernement affirma plus que jamais son autorité et revendiqua un territoire beaucoup plus étendu.Il commandita un plan d\u2019urbanisme exhaustif peur la région de la capitale, et mit en place l\u2019instrument d\u2019exécution de ses intentions le plus efficace, la Commission de la Capitale Nationale.Ottawa fut l\u2019objet durant la période d\u2019après-guerre d\u2019une très grande croissance, presque entièrement liée à celle du gouvernement.Ce dernier extirpa, finalement, les dernières traces de l\u2019industrie traditionnelle.Parallèlement, la capitale devint résolument une ville de classe moyenne.Ce n\u2019est qu\u2019au cours de la dernière décennie qu\u2019elle commença à nourrir l\u2019ambition d\u2019attirer l\u2019industrie de haute technologie - Kanata, sa ville satellite située le plus à l\u2019ouest se surnomme «Silicon Valley North».Cette période récente du développement d\u2019Ottawa a vu les gouvernements municipaux affirmer plus que jamais leur rôle dans l\u2019administration des villes et de la région.Avec sa dernière expansion territoriale, en 1950, Ottawa s\u2019est vu imposer une certaine limite; les développements suburbains ont été faits bon gré mal gré dans les «villes» de Nepean et Gloucester.Ces communautés construisent maintenant des «centres villes» - aussi connus sous le nom de centres d\u2019achat.Elles ont des institutions politiques bien ancrées et des fonctionnaires qui peuvent parler sans rougir de leurs fiefs distinctifs dont l\u2019identité, l\u2019histoire et le futur ne se confondent plus avec ceux d\u2019Ottawa.11.L\u2019urbaniste français Jacquer Gréber réalisa ce plan du centre d\u2019Ottawa en A 1938.Il remplace l\u2019organisation dense et introvertie que le plan de Holt présentait pour le territoire de la Couronne, par un aménagement plus libre.Ses propositions pour la rue Elgin et le square de la Confédération correspondent à peu de choses près à ce qui lut construit.lUilhli lifoiin te «il V H m.A: P Ù I V -#7\u2019\\ ,/ÇL % J*-, Æ.rL .A i àwfâ .45 \t\t\t\t\t\tk\tL.ill\t\ty\t% if J\tmÊÈÈm'\t.îs\t; \u2018\tmÊÊBIi^ÊÊÊÊSÊÊSÊÊmêÊÊÊÊÊÊm §\t\tÉ ¦i.ITH.j,1 \u2018 ¦ X- ^ ill \u2022 |fc> O/i JU'i iAii m Jacques Gréber fut engagé à nouveau, après la seconde guerre mondiale, pour la préparation du plan d\u2019ensemble de la capitale nationale émis en 1950.Dans son plan du centre, Gréber recycla ses travaux d\u2019urbanisme traditionaliste des années trente.Son plan confirma l\u2019importance du square de la Confédération en tant qu\u2019espace cérémonial ouvert et reprit le parti de la transformation de la rue Elgin en voie cérémoniale.L\u2019idée d\u2019une façade régulière sur rue prit une expression moderniste avec deux îlots de la rue Elgin - l\u2019édifice Lome (du gouvernement fédéral) et la Haute Commission Britannique.À l\u2019extérieur du centre, le plan Gréber était beaucoup plus moderne par sa dépendance de l\u2019automobile, son dédain d\u2019une densité «urbaine» et son exigence de complexes gouvernementaux isolés et dégagés.Les nombreuses voies de chemin de fer d\u2019Ottawa, de moins en moins utilisées à cause du déclin de l\u2019industrie, étaient converties en voies de terre: la principale ligne est-ouest devint éventuellement la voie rapide Queensway; l\u2019ancien droit de passage le long du canal, devint le Colonel By Drive, une réitération sur la rive est du canal, de la voie établie en 1903 sur la rive ouest.Un système de parcs et de routes, étendant le travail des générations précédentes, rendait possible l\u2019accès aux aménagements extérieurs offerts par la région La croissance de la ville fut prévue et devait être contrôlée par une ceinture verte, une bande de terrains protégée contre le développement (souvent par le biais de la propriété gouvernementale), donnant à la ville une limite définie.Effort bien inutile: l\u2019habitation suburbaine eut tôt fait de franchir la ceinture verte et un développement «approprié» y fut admis.C\u2019est ainsi qu\u2019elle apparaît maintenant sous la forme d\u2019une étendue un peu moins dense à l\u2019intérieur d\u2019une masse informe d\u2019habitations et de mails.L\u2019idée d\u2019une ceinture verte demeure cependant si populaire, que les politiciens régionaux en proposent aujourd\u2019hui une autre, pour marquer la frontière actuelle de l\u2019exploration suburbaine.Le plan Gréber donna, avant tout, un sens aux ambitions urbaines du gouvernement.Les politiques gouvernementales permirent la réalisation des objectifs visés: par l\u2019acquisition des terrains nécessaires à la constitution de la ceinture verte, ou par la démonstration d\u2019une grande générosité envers les gouvernements locaux consentant à construire selon le plan.Au cours des années cinquante et soixante l\u2019humeur sociale voulant que «le planificateur a raison» et la situation politique permirent à la Ville et la Couronne de refaçonner la capitale avec un minimum de problèmes.Grâce à ces avantages, le plan Gréber fut, à peu de choses près, construit et terminé aux environs de 1970.Le plan complété, la CCN se mit à rechercher d\u2019autres buts.Elle s\u2019inquiéta de l\u2019animation de la capitale, d\u2019une part, et s\u2019intéressa à l\u2019architecture urbaine, puis au développement urbain.La CCN travaille depuis plusieurs années à l\u2019élaboration du principe selon lequel la capitale devrait être la ville de tous les Canadiens, ce qui ferait d\u2019Ottawa un important centre touristique.La CCN essaie maintenant d\u2019animer et d\u2019exciter la ville saine, bien planifiée, ennuyeuse et terne qu\u2019elle a créée.Elle commandite des aménagements, dont la plus grande patinoire au monde, et des festivals du type de Winterlude.Elle guide les touristes et encourage les institutions d\u2019État à s\u2019ouvrir au public.La ville est jonchée de ses plaques d\u2019interprétation.En termes de planification et d\u2019architecture urbaine, les années soixante-dix furent pour la CCN, la décennie des mégastructures.Mais alors qu\u2019elle proposait ces ensembles géants, de fortes associations communautaires, précisément opposées à cette échelle de développement, se formèrent à Ottawa; les professionnels de l\u2019aménagement commençaient eux-mêmes à admettre certains doutes.L\u2019urbanisme des années soixante-dix changea considérablement Hull.À Ottawa seul le centre Rideau incarne certaines idées de cette époque.Les interventions substantielles de la CCN à Hull furent motivées par un symbolisme politique évident.On voulait intégrer Hull à la région de la capitale nationale, et ainsi signifier au Québec les avantages de la confédération.Le gouvernement du jour décida que Hull devait rattraper Ottawa - l\u2019espace nécessaire à quelque vingt cinq mille fonctionnaires devait y être construit en un seul projet.Par son échelle et sa précipitation, l\u2019intervention gouvernementale à Hull fut particulièrement cruelle en comparaison de celle qu\u2019elle mena à Ottawa aux cours des ans.La ville de Hull et la province de Québec elle-même furent persuadées de se joindre à la CCN dans l\u2019élimination, îlot après îlot, du tracé délicat et irrégulier des rues de Hull, pour faire place aux terrasses de la Chaudière, à la place du Portage, à un nouvel hôtel de ville et à un édifice provincial.Le visage que Hull présente à Ottawa fut complètement transformé.Au début des années soixante-dix la CCN proposait d\u2019enclore la rue Rideau dans une géante galerie de verre.En 1983 une version moins grandiose de cette première idée, le centre Rideau, était construit par un entrepreneur privé grâce à une participation substantielle de la ville d\u2019Ottawa.Il s\u2019agit d\u2019un centre commercial urbain type et hermétique, intéressant uniquement parce qu\u2019il teste l\u2019hypothèse urbaniste et sociale selon laquelle il est juste, de détourner de la rue principale (à partir de laquelle la ville s\u2019est développée), via des sous-sols de grands magasins, toute la circulation publique.Les résultats de l\u2019expérience sont concluants: cinq ans plus tard, les commerçants de l\u2019endroit négocient avec la ville le retour de leur rue, le prix de sa disparition est trop lourd à porter.Bien sûr ils ne retrouveront jamais la texture des commerces ouverts sur rue, supplantée par la masse opaque du centre d'achat.12.Le plan du coeur de la région, datant de 1971, expose les interventions ^ d\u2019urbanisme à grande échelle que la CCN étudiait pour la transformation des centres d'Ottawa et de Hull.- Î5 -Jt n w ¦ » piKII l-'W\" fcr .i T/J *3Viî. ' id °\ti-^-\u20141 *«/;i fitmmiim ?;;H»!!ii!!:;i\u2019.;!i 111111U loooooo asisltfg & >>A7, 13.Les voies cérémoniales, duToit Associates, 1983.Ce plan du centre de la capitale, par ses interventions douces et sophistiquées, constitue la base de l\u2019étude de la CCN pour la définition et de l\u2019aménagement du territoire de la Couronne.14 L\u2019enceinte parlementaire, duToit, Allsopp, Millier, 1987.Vue aérienne des modestes interventions de surfaces proposées.Les édifices sont des pavillons dans un parc; le paysage se métamorphose passant de l\u2019état sauvage près de la rivière, à un état plus formel lorsqu'il atteint la ville.15.L\u2019enceinte parlementaire, duToit, Allssopp, Hillier, 1987.Plan.'JTUzJ Æm (tj a] nrir-i m mm Les années soixante-dix et quatre-vingts virent à Ottawa comme ailleurs l\u2019émergence d\u2019une éthique de la conservation, d\u2019un intérêt marqué pour le patrimoine et d\u2019associations communautaires puissantes et averties qui s\u2019efforcent de préserver des quartiers habitables.Ce sont les symptômes possibles de la valorisation de la vie urbaine: les Nords-Américains encouragés par le modernisme organisé, abandonnèrent leurs villes après la deuxième guerre mondiale, le processus se renversa au cours des années soixante-dix et quatre-vingts.Ces idées s\u2019infiltrant peu à peu chez les professionnels de l\u2019aménagement, l\u2019appréciation de la variabilité et de la diversité de la scène urbaine commença à transparaître dans l\u2019aménagement urbain en général, et dans celui de la CCN.La parution, en 1983, de l\u2019ouvrage «Ceremonial Routes: An Urban Design Study» de la firme torontoise duToit Associates, marque les débuts de la nouvelle approche urbaine de la CCN.Dans cette étude duToit développe une idée qui flottait depuis le premier effort d\u2019intégration de Hull à la capitale.On identifie une ceinture de voies cérémoniales sur les deux rives de la rivière des Outaouais, qui dessinent la frontière entre les territoires municipaux et nationaux.À l\u2019intérieur de la ceinture, les édifices nationaux sont isolés comme des pavillons dans un parc.A l\u2019extérieur de la ceinture, la ville présente à l\u2019État, un mur d\u2019édifices.Des études urbaines plus détaillées suivirent.En 1987, duToit, Allsopp, Hillier publièrent «The Parliament Precinct Area: Urban Guidelines and Demonstration Plan for Long Range Development».Cette étude est une collection convaincante de règles s\u2019appliquant à la construction des pavillons du domaine fédéral, et une proposition pour leur connexion souterraine.L\u2019étude obtint en 1988, une mention de «PA Awards».Avec ces travaux, la CCN semble avoir trouvé le fil conducteur de ses interventions dans la ville.Grâce aux restrictions économiques, à une population intéressée et aux municipalités qui sont activement impliquées, ces interventions n\u2019auront pas l\u2019échelle de celles des années cinquante et soixante.En fait, la ville est maintenant assez mûre et docile pour que toute intervention massive d\u2019urbanisme soit inutile.Elle aurait cependant besoin d\u2019architecture urbaine mais ne possède à tous ses niveaux de gouvernement que de vastes institutions d\u2019urbanisme.Ottawa reçut son plan et le construisit, en ignorant une foule de petits problèmes convenant à des solutions d\u2019architecture urbaine.En ce moment, pour tenir ses planificateurs occupés, les gouvernements municipaux ont regroupé ces petits problèmes et demandent un nouveau plan d\u2019ensemble.Personne ne s\u2019est encore interrogé sur la pertinence de l\u2019outil.On ne peut que prévoir le résultat.22 ÜL/ .I ¦ Mffÿ ¦ T, Fg^?î' EVOLVING IMAGES ARCHITECTURE IN OTTAWA GREGORY UTAS The first European settlers of what is now Ottawa came to an area that was more wilderness than not, and they came to build not a town but a canal.Their presumed skills provided later generations with a fondly held myth - any stone building, of almost any age, between Ottawa and Kingston will be attributed to \u201cScottish masons brought over by Colonel By\u201d.What the first generation did bring with it was a desire for the comfort of familiar buildings.This meant, in effect, a reversion to the architectural style of a previous generation, but a style so thoroughly absorbed and so vigorously pared of superfluity by harsh colonial economics that it became essentially no style at all.Only the permanent structures of the first architecture had any chance to survive, and only a few of them did.Thus the evidence of surviving buildings speaks to Ottawa\u2019s institutional founders.The oldest surviving building is the Commissariat, built for Colonel By in 1827, and the sole built memento in Ottawa of the administrative and institutional overburden of the canal works.Its architecture partakes of the sturdy simplicity we associate with garrison architecture in Canada (Fig.1).A town, named Bytown after its leading figure, developed quickly from the initial construction camp.The timber trade was the foundation of its prosperity; Sussex Street (now Sussex Drive) was its commercial centre.Lowertown benefited most from this first growth, and then declined sharply in favour of Uppertown.Thus poverty and neglect preserved in Lowertown significant evidence of its mid-19th century character.When the National Capital Commission (NCC) discovered \u201cheritage\u201d in the mid-Sixties, enough survived on Sussex that the NCC could buy it up and call it the \u201cMile of History\u201d.The older buildings along the street are of a vernacular classical style; in the later buildings, from the 1860s and 1870s, the style shades gently into the Italianate commercial vernacular that pervaded the unassuming commercial streetscapes of Canada well into the twentieth century.The architectural monument of the first era, Notre Dame Basilica, (Figs.2, 3) departs somewhat from the pattern of a remembered, classical tradition.The church was begun in 1841 in the classical mode under a Father Cannon.Its walls had risen to about the first storey when supervision passed to a Father Telmon, who brought with him from France a taste for the Gothic.Thus the upper levels of the building are a restrained but assimilated Gothic Revival, simple but not schematic after the manner of Notre Dame in Montreal.The Basilica has a very fine interior of carved and painted wood in the Quebec tradition.In the ecclesiastical precinct that developed around the Basilica, the Church, then the dominant institution of Lowertown, built and preserved the densest collection early buildings in Ottawa: the Archbishop\u2019s Palace (1850) with its characteristic Québécois mansard roof, the Mother House of the Soeurs Grises de la Croix and and the associated hospital (1849, et seq.), and the LaSalle Academy (1852).(4)* In the area to the west of Sussex and north of the Byward Market, Lowertown still takes much of its character from houses of the 1850s and 1860s.Two forms are typical: low-to-the-ground, 1 1/2 storey cottages, and 2 or 2 1/2 storey, three- or four-bay houses in a vernacular classical tradition.The area is also a catalogue of several generations of \u201chome improvement\"; as the area gets gentrified, another layer is added to the old houses: the heritage look.In some cases the new layer is a fair representation of what the houses looked like when first occupied.1.\tThe Commissariat, built tor Colonel By, 1826 2.\tNotre Dame Basilica, corner Sussex Drive and St.Patrick Street, 1841.3.\tNotre Dame Basilica, interior. Thé-town that was made the capital of Canada in 1858 was architecturally still mostly of the first built generation.Loosely connected districts based on the town's initial economic foci and were beginning to meet and knit together.Within districts, and to a large extent between districts as well, there was considerable, probably unconscious, architectural agreement, a continuity of simple, essentially styleless buildings in either wood or the local grey stone.Buildings expressed their different functions and to a degree the status of their owners through variations in size and durability of materials, but they all shared a vernacular of plain surfaces and regular proportions.This built texture was punctuated in one or two places by institutional buildings or monuments, self-conscious architecture that nevertheless shared the same references as the background buildings.When construction began on the new Parliament Buildings in 1859 architecture of a markedly different character, as well as a somewhat grander scale, was introduced into Ottawa.In creating its enclave at Ottawa the government implanted there the fundamental design ideas from which its ceremonial architecture and official images would evolve.The persistent ideas have turned out to be a celebration of the picturesque in the landscape, which is with us today, and a preference for Gothic and related styles of architecture, which persisted to the Second World War.Ottawa\u2019s most memorable images, the spice of its architectural character, derive from a core of official or \u201cCrown\u201d buildings; the meat, the architecture of the \u201cTown\u201d, is much blander fare, whose images have consistently come from elsewhere.Parliament Hill, the site of the government enclave, was a remnant of the Ordnance lands still in government hands.The Hill is a high promontory extending into the Ottawa River at a point where its cliffs are especially steep and rugged.A good coverage of \u201cwild\u201d trees and shrubs grows where it can on the cliffs; the mix of species has changed - early recorders wanted to see, and may indeed have seen, dark, hence primeval, conifers suggestive of a savage picturesqueness.On the town, or inland side, the Hill slopes gently to Wellington Street.The site of Parliament is higher than the commercial town and easily read as separate geographical entity.Thus from site alone the new Parliament buildings held and dominated the centre of the town without being entirely part of it.In 1859, the colonial government launched an architectural competition for the design of a legislative building and two departmental buildings.From entries in a many styles it chose two varieties of Victorian Gothic Revival.The style was appropriate to the place \u201cfrom which would emanate the laws of a free country\u201d; the evaluator no doubt had the new Houses of Parliament at Westminster in mind in making this association.Thomas Fuller and Chillion Jones provided the winning design for the Legislative Building, or Centre Block (Fig.4).The building was a long symmetrical block with projecting pavilions, tall roofs and a central tower.In underlying composition it was as much Second Empire as Gothic, but its ornament and surface texture accorded with the Victorian taste for the picturesque.The Library of Parliament (finished in 1876 by others) is a fully Gothic chapter house connected by a thin neck to the rest of the building.The main building burned to the ground in 1916, but the Library survives.Construction of the present Centre Block began almost immediately after the fire to the designs of John A.Pearson of Darling and Pearson, a national firm, based in Toronto, famous for its Beaux Arts banks.The present building is bigger than the original and the tower is much taller.Its academic, slightly attenuated Gothic ornament applied to a sound Beaux Arts plan nevertheless serves well in the picturesque ensemble of the Hill.The East and West Blocks were designed by Frederick Stent and Augustus Laver.These buildings are much more picturesque in their massing and robust in their detail than the Centre Block.The East Block has been somewhat less altered than the West Block, and was restored in 1975 - 81.The West Block, originally similar to, but never identical with, the East Block, has been well added to, indifferently added to, and rescued from demolition in the nick of time.In 1960 it was gutted and rebuilt inside; from the exterior one can detect this mainly in the simplification of the window surrounds.The splendid site and competent winning designs, especially their towers and roofs, produced a picturesque ensemble well received by observers at the time.The published contemporary appreciations of the complex seem mainly to be speaking of the view from the river side, where the rugged cliffs lent their glamour to the buildings; the site was perfect for those who sought the sublime.The formal side of the complex, the great square opening onto Wellington Street, was less successful: the buildings sat at different levels around something of a wasteland.The successful resolution of the complex from this view point is the work of the American landscape architect, Calvert Vaux.His inspiration was the long retaining wall below the Centre Block and the regrading of the central lawn.This simple and remarkably effective gesture ties the three buildings together and gives the complex a focus.It also created what is probably still the best formal outdoor space in Ottawa.24 4 iliwf * (3.jf «i, V.*~m *¦ 4.View of the Parliament Buildings from Wellington Street, c.1880.'TF .IfTTfi V *mT\t;i t'lLViWl ; \u2022rr , yr\t\"T-\t'\t! r*.' r* Wvrr \t «*£**¦«¦ M -gSa : 'WlTm wnv - \u2019 RiluM\tJR Ï.TES 5.The West Block, west range and Mackenzie Tower, T.S.Scott.1874-1878.3® \u2022v .-* By the middle of the 1870s the broad character of the parliamentary complex was set.With the fine fence along Wellington Street, the great lawn, and the pleasure gardens between the buildings and the cliffs, including a charming summer house of 1876 which may be reconstructed, the government had made itself a comfortable and neatly contained seat at Ottawa, but not of Ottawa.Any idea that the town should be equally neat and comfortable did not emerge until much later.From about the time that it became the capital until the end of the century Ottawa enjoyed its great success and prosperity as a lumber town.Throughout these years lumber was the real business of Ottawa.Although the lumber trade created a few significantly large private fortunes, this wealth did not create an architectural legacy for Ottawa: no wonderfully vulgar robber baron's palaces; no self-aggrandizing bequests to worthy institutions.Because the evidence of industry and the working classes have been deliberately removed, Ottawa's built character today memorializes mainly the middle classes of the lumber town.Industrial managers, civil servants and the merchants who served them have left visible evidence, pervasive in the residential areas near the core, spotty in the commercial streets.The houses of Sandy Hill, Centretown and the Glebe record Ottawa's adherence to a conservative taste: none of the extremes of fashion the era offered, nothing outrageous, nothing eccentric.The houses of Ottawa are all red brick solidity and good manners.The merchants who lived in these houses were building a commercial downtown centered on Sparks Street.In the 1870s the basic commercial vernacular of the town was the Italianate two or three storey block that was then ubiquitous in Canada and remained so in more or less attenuated form well into the 20th century.65 Sparks Street is a fragment of one such block (Robinson Building,1871).One can see a large selection of its descendants of the late 19th and early 20th centuries by walking south on Bank Street.The architectural eclecticism of the era did occasionally diffuse into this background architecture.The Montreal Telegraph Building (11) is a rare survivor of a somewhat more ambitious commercial architecture of the 1870s.Towards the end of the century basic commercial accommodation could be a bit more relaxed or more vigorous, as in the three Romanesque buildings of the 1890s at 177 to 187 Sparks.As Ottawa developed it acquired a sprinkling of buildings meant to stand apart from the background fabric of the town, to signal either a socially important institution or an elevated commercial ambition.It was, and remains, typical of Ottawa's monuments and distinguished buildings that their architecture is imported.Outside institutions, like the provincial government or national commercial enterprises, import their architecture whole: financing and design, certainly, construction and materials on occasion.Local institutions or entrepreneurs might simply buy design on the national or international markets.Many 19th century examples of this process have been lost.The best survivor is the old Teachers\u2019 College, the work of a significant Toronto architect implanted in Ottawa by the provincial government.(7) While Ottawa got on with hewing wood and building a gritty lumber town, the much more gentlemanly business of government was carried on in the manicured confines of Parliament Hill, with occasional excursions to Government House, an ugly pile set in a miniature English country estate on the edge of Rockcliffe.As the government grew it was able to accommodate itself within its enclave, at first by moving into the attics of the original buildings, then by adding to them.The present character of the Hill owes a great deal to the work of T.S.Scott, the first Chief Architect of the federal government (1871 - 81).His major work there, and effectively the major work of his career, was the west range of the West Block, the most satisfactory of the many additions that have been made to the parliamentary complex (Fig.5).The centerpiece of this work, the Mackenzie Tower, was the tallest spire on the Hill until the Peace Tower was completed in 1927.It dominates and lays visual claim to the riverbank to the west, a harbinger of the expansion of Crown territory that was to take place after 1912.Scott\u2019s successor as Chief Architect, Thomas Fuller (1881 - 1897) was far and away the most interesting architect ever to occupy the post.After building the Centre Block Fuller had a disappointing career in the the United States.He returned to Ottawa in time to preside over a vigorous expansion of the federal presence across the country.He also established the notion that the government ought to do its own architecture, rather than commission private architects.He developed a very strong personal style in which massing and compositional ideas from the Richardsonian Romanesque were combined with the smaller scale surface textures of his earlier influences.Fuller's style became the government\u2019s company style all across the country.Although he was rarely imitated, through volume of output and geographical distribution Fuller created what amounts to a Canadian national style.In addition to establishing the first more or less \u2018official\u2019 government style, Fuller founded a design office with its own distinctive architectural sub-culture.Except for a short interregnum during the First World War, all of Fuller\u2019s successors as Chief Architect up to the 1950s were trained in Public Works and spent their whole careers there.The architecture of this office, and thus government \u201cofficial taste\u201d, drifted away from the institutional norm of the rest of the continent in the early years of the 20th century and thereafter more or less paralleled, but remained at an uncomfortable remove from, the developments of the main architectural culture until forcibly reintegrated with it in the 1960s.25 ÆJîil&V ; \u2022rrvr ' 1 '5 MX m, ni TKmxnmiTW ktZÏ LJwiï' 4» «uâ.' ' I * L j i\t- i __r*- _L f- 1 ' - ^nsé£É 6.\tThe Langevin Block, Thomas Fuller, 1888.7.\tThe Chateau Laurier (1912, and additions) and the Government Conference Centre (formerly Union Station 1912).It fell to Thomas Fuller to design the government's first expansion off of Parliament Hill.In 1888 a \u201cNew Departmental Building\u201d, now called the Langevin Block, was built on a site immediately across Wellington Street from the East Block (Fig.6).A continuous row of Second Empire banks then made Wellington an effective south wall to the parliamentary precinct.Fuller\u2019s building responded to the general aspect of this street, but of course it is not a Second Empire building -the style was by then desperately old fashioned.Thus Fuller\u2019s only building in Ottawa is not an example of the official government style he was disseminating across the country.Its hybrid style no doubt mediated well between its initial neighbours and the Hill but it was a polite work, \u201ccontextual\u201d in the contemporary jargon.The ambition to remake Ottawa to government taste belongs to the next century.In 1896 the Prime Minister, Sir Wilfrid Laurier, made a speech in which he proposed to make Ottawa the \u201cWashington of the North\u201d.In 1899 the first agency charged with this task, the Ottawa Improvement Commission, was formed.It is convenient to take these dates as marking the transformation of Ottawa from a lumber town that happened to have the government in its midst into a town whose business is government.This transformation took some fifty years, and the different responses of Town and Crown to the change account for the dominant architectural character of the capital today.The divergence between federal architecture and the mainstream that emerged at this time reinforced the distinction between Town and Crown.The two sides could agree on landscape design and the virtues of parks and parkways; the architectural character of the place, however, is defined by the differences between the government architecture, driven by its symbolism to hold to the Gothic or styles of that ilk, and the Town, which sought its images elsewhere.In 1905, an Ottawa developer built the town\u2019s first department store (now the Daly Building) to a design that had learned a good deal from the Chicago Style about the ruthless expression of economics and new technology.All the locally produced, background architecture of the period speaks of nothing much more than financial rates of return, but none of it is as forthright as the Daly Building.Much of Sparks Street was rebuilt before the First World War with fairly tall (five to ten stories) steel or concrete frame buildings that presented to the street conventional three-part facades ornamented with reassuring, if faint, references to traditional architecture.After the First World War, local architecture or locally based development did not much change the built character of the town; what little was built diverged only slightly from pre-war models.The Twenties did not particularly roar in Canada, and the pre-war building boom had left Ottawa with a good stock of commercial buildings.One development in Wellington Street, the Victoria Building, an indifferent brick mid-rise, broke the vague gentleman\u2019s agreement about height and a certain deference to Parliament that had prevailed until then.The building is said to have particularly offended the architectural sensibilities of the Prime Minister.It has the distinction, therefore, of having provided visual encouragement to the federal government as it asserted more control over the design of its immediate environs.Characteristically, Ottawa\u2019s most significant \u2018Town\u2019 buildings of the early twentieth century are imported architecture owned by outside enterprises.The two really significant monuments Ottawa acquired before the First World War are the Chateau Laurier and Union Station (now the Government Conference Centre).They are today very significant elements in Confederation Square; at the time they were built they created and defined the core of the town.(Fig.7) The major Canadian railways built hotel chains across the country in order to benefit further from their long-haul passengers.To some extent in the established cities of the East, and absolutely in the new towns of the West, the railway hotel took on all the social importance of a grand hotel.The railway hotel was the place where respectable people could dine out; it provided the venue for the large-scale rituals of middle class life.A kind of architecture that took its basic references from French châteaux of the 16th century - hence known as the Chateau Style - came to be intimately associated with railway hotels.In the hands of the railways, whose grasp naturally spanned the nation they had done so much to create, the Chateau Style became a national style in much the same way that Fuller\u2019s distinctive federal buildings were a national style.Thus the railways, whose connection with government was always most intimate, planted in Ottawa a style that would in fifteen years become the official style of the federal capital and survive in federal hands two decades past its natural demise elsewhere in the country.Ottawa got its railway hotel in 1912.The Chateau Laurier is a quite delicate rendition of the type by the Montréal architects Ross and MacFarlane; its fairy tale aspect is one of Ottawa's abiding tourist images.For all that they wanted their hotels to be domestic and to suggest the good life on the Loire, when it came time to build central stations the Canadian railways agreed with North American precedent and built grand terminals following Classical, generally Roman, precedent.The railway station was quite consciously seen as the gateway to the city; a great deal of civic pride was invested in its grandeur and seemliness.The Ottawa example, Union Station, (now the Government Conference Centre) is rather dull exercise in Beaux Arts pomp, again by Ross and MacFarlane, but it no doubt provided a suitable introduction to Ottawa when it was in its intended use.It still holds its edge of Confederation Square with considerable presence. miiim i a i\"i'stvs a ¦ 1 bCSBEE nnHiiMnHmniiriiimil After the First World War, outside institutions provided Ottawa with a handful of its most distinguished buildings.The great Canadian banks made their presence felt in Sparks Street: the Bank of Commerce built an entirely conventional \u201ctemple bank\"; its architects, Darling and Pearson, based in Toronto, were one of the better and more prolific of the corporate architects that arose before the First War to serve the national corporations.Next door on Sparks Street, the Bank of Nova Scotia (Fig.8) is a rather better, more original work by John M.Lyle, architect, of Toronto, who was just emerging as a leading theorist of a \u2018Canadian\u2019 architecture.In later work for the same client, Lyle demonstrated that his Canadianism consisted of substituting maple leaves and buffalo heads for more conventional secondary ornament in standard Beaux Arts compositions.A few doors to the west on Sparks Street, on a site that runs through to Wellington, in 1932 the Bank of Montréal (15) demonstrated its financial health despite the Depression by building an effective Scraped Classical block with a very generous banking hall.The design, by Barrott and Blackader of Montréal, is decorated with Canadian symbolism in the Lyle manner within a very flattened and abstracted Classical frame.This design won the Royal Architectural Institute of Canada\u2019s gold medal in 1932.Wellington Street, unlike Sparks, was largely redeveloped in the Twenties and Thirties by outside institutions.With the exception of the tiny Union Bank, the Second Empire style banks that had made such an effective south wall to Parliament were replaced with the assortment of buildings one sees there now.A significant element in Wellington\u2019s admittedly disjointed streetscape opposite Parliament was directly imported from the United States.In 1927 the Metropolitan Life Insurance Company populated its Canadian headquarters in one stroke by shipping a trainload of clerks and files up from New York.The building they occupied, now called the Wellington Building since it, like its neighbours, has come into the hands of the federal government, is a classic paper-work factory wrapped in a vigorous Beaux Arts skin, designed by D.Everet Wade of New York.(14) The United States was the first foreign power to have a legation at Ottawa.For its permanent quarters the legation acquired a site on Wellington directly on axis with the Peace Tower.In 1932 the United States built the quarters its embassy still occupies to a design by Cass Gilbert, of New York.(Fig.9.) The embassy is a very refined club modelled on an Italian palazzo, a fully resolved and, indeed, rather graceful exercise from an unrepentant elderly master of the Beaux Arts manner.The United States plans to move eventually to a safe, suburban fortress, the location of which has been a matter of some public controversy.The undoubted historical and architectural interest of the present embassy make it something of a problem for those who would replan Wellington Street in support of the Parliamentary Precinct.Between Laurier\u2019s call for a Washington of the North and the Second World War, the federal government effectively remade the core of its capital in its own image.The impression of its architectural character that the visitor to Ottawa takes away with him derives almost entirely from the federal territory that stretches along the banks of the Ottawa River and sends a stubby finger down Elgin Street from Confederation Square.Expanding from its original enclave on Parliament Flill, the government established its eastern frontier on Sussex Street before the First World War.Between the world wars it captured land to the west, now called the West Flill, and, most significant of all, by building Confederation Square it transformed a small square created by commerce as the gateway to the town into a large ceremonial void and national memorial to the glorious dead.While in some sense the federal government is the ultimate outside agency in the history of Ottawa, its architecture was not exactly imported in the manner of the significant commercial monuments of the town.The federal architectural office that Thomas Fuller established in Ottawa became more and more hermetic and self-referential as time passed.His successor, David Ewart (Chief Architect, 1897-1914) joined the Department of Public Works as a youth and spent his whole career there.As Chief Architect he presided over the first phase of the government\u2019s remaking of Ottawa; it fell to him to establish the first official style of the federal capital.In 1906 the government held an architectural competition for a complex of office buildings on Majors Hill Park, which failed.After acquiring its western reserve in 1912 the government held another architectural competition, which failed amid controversy and doubtful practices.These failures had the effect of confirming a separation between the government\u2019s internal architectural culture and that of the mainstream; no direct infusion of national architectural ideas formed the character of the capital.The nascent professional architectural associations, represented by the Royal Architectural Institute of Canada, found much to deplore in federal design.They also found irksome the constitutional immunity of federal architects vis-à-vis provincial licensing authorities.The failure of these competitions could only exacerbate this disharmony between government and the architectural profession.8.\tThe former Bank of Nova Scotia, John M.Lyle, 1924-25.9.\tThe United States Embassy, Cass Gilbert, 1932. Thus it happened that David Ewart came to design all of the buildings of this first phase of the government\u2019s remaking of the capital.He placed two buildings, the Royal Mint (3) and the Dominion Archives (now the Canadian War Museum) on the river at the north end of Sussex Street and the Connaught Building (Fig.10) towards its southern end.The implication is that a row of similar buildings would in due course span between them.He built Canada\u2019s first national museum, the Victoria Memorial Museum,on a large property at the southern border of Centretown,(8) and the Dominion Observatory (20) almost in the country, on the Central Experimental Farm.In plan and underlying composition Ewart\u2019s architecture shows a regularizing impulse that suggests that he was not entirely immune to the mainstream architectural conventions of his time, but in ornament and detail his buildings adhere to a medieval taste and rough surface texture that speaks to, but does not imitate, the style of the Parliament Buildings.The Dominion Observatory and the Mint have a certain rugged vitality; the building Ewart thought of as his best, the Connaught Building, is a rather bloodless affair, in which the underlying Beaux Arts qualities are especially evident.The force of the symbolic stylistic connection to Parliament evident in these buildings makes the official design of the capital quite distinct from both private design at the time and the official design of other governments - the legislative buildings of the new western provinces, for instance, are uniformly Beaux Arts Classical.After the First World War the government concentrated for some years on paying off its war debt and so built little.During this fallow time the Chief Architect\u2019s office made various studies focussed almost entirely on the West Hill.In 1929 a building finally emerged from this long and tentative planning process.The Confederation Building (its name and the laying of its cornerstone in 1927 were part of the celebrations of the Diamond Anniversary of Confederation) set the rules that were to govern architecture on the West Hill for the next twenty years.The Confederation Building (16) announced \u2018Chateau Style\u2019 as the new official style of the capital.A sense that a picturesque style was appropriate can be found as early as 1903 in the work of Frederick Todd for the Ottawa Improvement Commission; in 1915 the Holt Report referred to the Chateau Laurier Hotel as an example of what was wanted.The hotel, however, is a smooth surfaced, contained work; the Confederation Building is rough surfaced and a bit broader in its gestures.This roughness is suitable to the Nepean stone of which it is built.Thus there seem to be two levels of connection with the Parliament Buildings: a direct connection, use of the same material, and a much vaguer connection between the Gothic of Parliament the Chateau Style.For whatever reasons, the Chateau Style was chosen and as things developed, Canada\u2019s longest reigning Prime Minister became its leading enthusiast, assuring its survival in official Ottawa long past its natural demise elsewhere.The stock market crash of 1929 and the early years of the Depression halted government construction for a time but eventually the government came to believe that it could spend its way to economic recovery.As part of this \u201cpump priming\u201d a number of significant federal buildings were built across the country.Since one object of the exercise was to create jobs, the government abandoned its long-standing reliance on its own staff and began instead to give work to private architects.The Justice Building, next to the Confederation Building and very much like it, was finally designed and built between 1935 and 1937.Although its location, style and footprint conform to Public Works plans from as early as 1923, it is credited to the minor local firm, Burritt and Horwood.Especially in small towns, Public Works in the Thirties sometimes issued plans to local architects for them to \u201cput on the architecture.\u201d Something along these lines may have happened here.All planning for the West Hill has recognized the promontory below Parliament Hill as the natural site for the dominant building of the area, and most have proposed a square in front of the dominant building analogous to the Parliamentary lawn.It was agreed fairly early on that the Supreme Court was the obvious institution to occupy the site (Fig.11).The Supreme Court was for many years something of an orphan among the institutions of state: it was housed for a while in the old Centre Block, and then in a converted workshop below the West Block, which it shared with the National Gallery.In 1936, there was an ambitious proposal to house the Railway Commission, the Supreme and Exchequer Courts, the Privy Council and the Prime Minister\u2019s office in a complex on the West Hill.By January, 1937, this was pared down to one building for the Supreme and Exchequer Courts.In September, 1938, tenders were called for the construction of the building, to the designs of Ernest Cormier.The building was largely completed by 1940, by which time it was needed for the war effort.In 1946, the Supreme Court finally moved into its building, although Cormier was still designing furniture and supervising interior finishing in 1947.In Ernest Cormier the government had found one of the most accomplished Canadian architects of the time.His commission was the first injection of \u2018national\u2019 architecture into the capital since its founding.Cormier\u2019s initial design for the building was a flat-roofed, stripped Classical composition with Art Deco undertones, typical of Thirties institutional design and his work.Prime Minister Mackenzie King personally demanded the high roof by way of enforcing the official style.Nevertheless, the building is a very distinguished work, with very fine interiors. While the demolition of the many small buildings of old Uppertown to create the grassy expanses and monuments of the West Hill is a notable change, the government\u2019s key intervention of the Thirties was the creation of Confederation Square.By thus claiming a significant fraction of the commercial nexus of the town, the federal government altered the patterns of both commerce and circulation; it subsumed the existing commercial monuments, the hotel and the railway station, in its own vision of a grand boulevard and national memorial.In the design of the Sparks Street Post Office set the rules it hoped to enforce around the Square and along Elgin Street.In a departure from its usual pattern, the government engaged the significant local architect, W.E.Noffke, to design the new post office.Like Cormier, Noffke pushed against the Chateau Style rules for the capital.His first design was flat roofed, pointing up its underlying Classicism.The built version is a persuasive exercise in contextualism in which references to the Langevin Block as well as to the Chateau Style form an integrated whole.(Fig.12) In a curious way the official style of Ottawa was thus reduced to a matter of roofs: the last buildings that conform even somewhat to the Chateau Style rule, the Memorial Buildings, have tentative green copper roofs as their only reference.After many years of Modernism, the unthinking have again seized on green copper roofs as the defining architectural characteristic of Ottawa.As contextualism or \u201chistorical sensitivity\u201d have become commercially viable, cheap green metal roofs have been clapped on several new buildings, such as the tower attached to St.Andrew\u2019s Presbyterian Church (Kent and Sparks Streets); local politicians applaud this eminently graspable iconography.Even the very fine Teacher\u2019s College (which had retained its original slate roof) escaped the indignity of being \u201crestored\u201d with a copper snood only by the vigorous campaigning of the local heritage community.The Second World War focused national attention on Ottawa as never before; after the war it was felt that Ottawa would be more visible within the country and abroad than it was accustomed to.After the war, western governments determined to foster growth to avert the problems of demobilization.Thus, both money and pride characterize the context in which post-war Ottawa developed.The federal government asserted its authority as never before, and claimed a much extended territory.The government sponsored an exhaustive urban plan for the capital area, and, in the National Capital Commission, set up its most effective instrument yet for executing its intentions.While post-war planning implied Modernist architecture, especially in its call for remote government office complexes set in meadows, federal architecture retained for a few years the character of the government architectural culture that had been founded by Thomas Fuller.The equation of corporate Modern buildings with growth and prosperity then being formulated in the United States did not penetrate official Ottawa for some years.Shortly after the war the government afforded two buildings in the ceremonial core.Both conform to earlier plans for the area and follow, with declining conviction, pre-war stylistic models.The earlier of the two, the Memorial Building, (1949-56) (13) was designed by Allward and Gouinlock, an old corporate firm from Toronto.These architects managed to produce a fairly convincing abstract of a traditional building; they even managed the obligatory green copper roof, however tentatively.The National Library and Public Archives (1953-67, Mathers and Haldenby), on the other hand, was a clear demonstration that the old ideas were exhausted.That the Memorial Building and the National Library were designed by private architects confirms a lasting change in the government\u2019s relationship with the general architectural culture.When the government commissioned private architects in the Thirties the object was a much unemployment relief as architectural patronage; after the war the government began gradually to limit its own architects, at first to minor works, and eventually strictly to project management.The ideologically driven architects of the 1950s and 1960s persuaded the government that its \u201cin-house\u201d architecture was appalling and that it could only get good design from outside.In a not unrelated development, the government also abandoned the idea that its buildings should be at all distinguishable from any others.The Memorial Building was the last routine government office building to be distinguished from its commercial equivalents by an official and more or less monumental style.The idea that all government buildings should be in some sense monuments is understandable when government is small and not intimately involved in the daily lives of its citizens.The idea could linger through the first half of the 20th century because its routine office buildings were the government\u2019s direct means of changing the town to suit its ceremonial aspirations, and thus had to express government\u2019s aims and self-image.After the war government architecture became a small subset of the National Capital Commission\u2019s arma-tentarium.It was easy to acknowledge that much of government is not ceremonial.Government paperwork factories could don the uniform and join the ranks of their corporate equivalents.Therefore the post-war government\u2019s main contribution to the architectural character of Ottawa has been to fund, directly and indirectly, large numbers of standard office buildings.For the occasional \u2019prestige\u2019 building the government has purchased the standard corporate architectural taste of the time from established national firms.The national institutions and ceremonies are housed in pre-war buildings; since the war only national official culture has given the government occasion to seek out distinguished architecture.10.\tThe Connaught Building, David Ewart, 1913-16.11.\tThe Supreme Court ol Canada, Ernest Cormier, 1938-46.12.\tThe Sparks Street Post Office, W.E.Noffke, 1938-39. :: M Lutta feu»*- ****¦¦£ II 30 Just as Ottawa\u2019s dominant industry is government, its dominant building type (apart from houses) is the bureaucratic factory, a building intended to keep people dry while they pass paper from one desk to another.Ottawa in no way invented or even refined the bureaucratic factory, but locally designed and financed architecture is almost entirely of this type.In the first half of the twentieth century, government bureaucratic factories were deliberately different from their private equivalents; they carried a symbolic programme and cultural obligation that contemporary private office buildings had already pared to a desultory minimum.After the Second World War the type becomes ubiquitous, for not only did government adopt the type, but the traditional builders of distinctive commercial monuments entirely subsumed their architecture, too, within the standard office tower.Banks, for instance, now occupy shopfronts that could as easily sell crockery.Through the National Capital Commission the government asserted an interest in the shape of the whole town and assumed wider powers over it.It built suburban office complexes to further its broad planning objectives, but it left the remaking of the downtown largely to private forces.Those in the government who were charged with acquiring \u201cspace\u201d followed a different, sometimes contradictory, imperative from those whose job it was to think about architecture and urban planning.By the 1960s, the government\u2019s voracious demand for space essentially created a class of local developers and entrepreneurs who in turn completely restructured the centre of the town.Their indifferent mid-rise office towers are a perfect expression of minimal accommodation and tightly calculated economic return; as such they are a valuable social document.In due course their aesthetic turned around and forced a rethinking of what the government demanded of its capital.In particular they overturned the idea that Parliament should be visually dominant as seen from the Town.The key event in this process was the five-building complex called Place de Ville (Fig.13).Three of its towers have metal and glass curtain walls of Meisian persuasion; the two hotels in the complex follow less rigorous precedents.Its developer, Robert Campeau, was the first to recognize the development potentials of the western edges of downtown.Equally significant, Place de Ville greatly exceeds the height limits that had prevailed up to that time as a way of preserving the dominance of the Peace Tower.Amid some controversy, the City of Ottawa changed the rules to permit this and like development; the federal government said little and then rented most of the space in the complex.Ottawa\u2019s traditional sources of distinctive Town architecture were local institutions and national commercial enterprises.With the commercial sources subsumed in the bureaucratic factory, only local institutions were left; in effect this means the municipal governments.Modernism came late to Canada; public institutions particularly resisted the new ideology for about ten years after the Second World War.A coincidence of architectural competitions for new city halls in Ottawa, Winnipeg, Edmonton and Hamilton conveniently marks the final acceptance of Modernism as a monumental, institutional style.In 1958, after 27 years in \u201ctemporary\u201d accommodation, the City of Ottawa held a national competition for the design of a new city hall.Under considerable federal pressure the City agreed to build on an island in the Rideau River then being stripped of its industrial heritage in the name of beautification.The populist mayor of the time argued that a city hall ought to be in the city; that despite the mayor\u2019s objections the municipal government abandoned the centre for a green field on the edge of town is a nice symbol of the anti-urban character of planning at the time.Thus the city government took its place among a string of monuments in green fields whose purpose - a federal purpose - is to finally provide the seemly processional route from Rideau Hall to Parliament that governments had sought for a century (Fig.14).Ottawa City Hall was designed by the Montreal firm of Rother, Bland, Trudeau; they produced a persuasive, quite gentle work: an office slab of contained proportions plus the inevitable device of the council chambers expressed as a separate solid floating largely free the building.This design won the Massey Medal for architecture.In the last few years the artificial communities around Ottawa proper have reached an age where they seek to build \u201ccity centres\u201d.They have chosen the shopping centre as their model and in so doing have achieved a certain commercial slickness.The Regional Municipality which governs Ottawa and these new suburbs, after a similar length of time in anonymous rented accommodation, is now building itself a headquarters building.It has acquired the services of the distinguished Toronto architect, Raymond Moriama.The building is under construction.The City of Ottawa has just chosen by competition a design by Moshe Safdie with Murray and Murray for a substantial addition to the city hall.With these buildings Ottawa is acquiring, from outside as always, its first serious exercises in the deliberately accessible architecture of manipulated images popular in North America of late.13.\tPlace de Ville, designed by Campeau Corporation in-house architects under Peter Dobbing, 1966-72.14.\tOttawa City Hall, Rother, Bland, Trudeau, 1958.15.\tThe National Arts Centre, Affleck, Desbarats, Dimakopoulos, Lebensold and Sise, 1964-67.16.\tOttawa Station, John B.Parkin and Associates, 1966.17.\tBank of Canada, Arthur Erickson Architects and Morani, Rounthwaite, and Dick, associated architects, 1979.18.\tPlace du Portage, built in four phases, many architects, 1969-1979.19.\tNational Gallery of Canada.Moshe Safdie and Parkin Associates, 1988. The federal government acquired a taste for Modernism from the bottom up, as it were.\u201cWorking\u201d establishments the Central Experimental Farm were always more or less exempt from the official taste of the capital.When the National Research Council established itself on Montréal Road reasoning along the lines of \u201cscience equals modernity equals Moderne\u201d can account for the design of the first building, the Aeronautical Research Building of 1939.When building began again in the 1950s a facile Modernism quite distinct from the awkward hybrid Modern of contemporary government offices was the style of choice.These buildings today have a considerable charm somewhere between Flash Gordon and the flash modern of Fifties roadside architecture.One step up from the bottom, the Dominion Bureau of Statistics building (1948), the first building at Tunney\u2019s Pasture, is a characteristic hybrid of Modern and traditional ideas: symmetrically disposed about a frontispiece of faintly classical inspiration, but with horizontal, read Modern, fenestration.Very similar buildings can be seen along Carling Avenue in the Central Experimental Farm, some of significantly later date.The later buildings of Tunney\u2019s Pasture and Confederation Heights, both satellite office complexes, are of a fully assimilated, unremarkable Modernism.The upper reaches of this hierarchy are defined partly by use - \u201cprestige\u201d tenants - and partly by location - close to the ceremonial core of the capital.The first built evidence that Modernism was acceptable in the most prestigious official architecture is the National Arts Centre (1964 - 67; Affleck, Desbarats, Dimakopoulos, Lebensold and Sise).It is at the top of the hierarchy in both respects: the use, official culture; the location, Confederation Square.The NAC completes, after its fashion, the east side of Confederation Square and settles its bulk, reflecting its large, complex programme, gently enough into the banks of the canal.Despite its obsessive hexagonality, the building has perfectly clear circulation, once one finds the front door, and some very fine interior spaces (Fig.15).As transparent as the NAC is opaque; as hard, cold and orthogonal as the NAC is textured, warm and polygonal, the roughly contemporary Ottawa Station (John B.Parkin and Associates, 1966) is Ottawa\u2019s best example of the rationalist, minimalist extreme of Modernism and a nationally significant work by its celebrated architect.(Winner of the Massey Medal, 1967.) The idea of \u201ctrain station\u201d is here given an elegant, definitive modern expression in every respect except location.The NCC, not the architect, must explain why once one has arrived at the station one\u2019s journey to Ottawa has only just begun (Fig.16).Two government buildings of the Seventies contribute to the architectural quality of Ottawa.Both occupy significant locations: the Lester B.Pearson Building (Webb, Zerafa, Menkes, Housden, 1973) (2) is part of the greensward-and-monuments formula for the Sussex Drive processional; the Bank of Canada (Arthur Erickson Architects and Morani, Rounthwaite, and Dick, associated architects, 1979) is an elegant, if dematerialized, contribution to Wellington Street by one of Canada\u2019s best architects.Its faceted green glass is the first and best example of that style in Ottawa (Fig.17).To see the difference a city block can make - the locational determinant of architectural character - see 240 Sparks (12), an inelegant green glass building intended to merge quietly with the commercial character of Sparks Street.Certainly the government\u2019s largest building of the Seventies is Place du Portage, Hull, the grey megastructure that dominates the view from Parliament.The building was an overt political act - it was intended to integrate Hull with the Nation Capital Region, and thus to symbolize to Québec the advantages of Confederation.One would expect a building asked to carry such a weighty political message to have received a great deal of design attention.Perhaps at the urban design level it did; its obliteration of block after block of Hull\u2019s minute built scale and erratic street pattern may have been seen as slum clearance - a Good Thing in the catechism of an urban design that profoundly distrusted cities.Its architecture, however, manages to be hostile whilst offering \u201camenities\u201d, impossible to navigate whilst enclosing acres of circulation, unpeopled (except weekdays at lunch) whilst offering its ground floors and much of its street frontage to commerce (Fig.18).The 1980s have seen two institutions of official culture suitably housed.The National Gallery (Fig.19) designed by Moshe Safdie and Parkin Associates was opened 1988; the Museum of Civilization, Douglas Cardinal, architect, is still under construction.After many attempts to house the National Gallery the current site was chosen in the mid-Eighties by the National Museums Construction Corporation under Jean Sutherland Boggs, a former director of the National Gallery.The site on Nepean point is admittedly a little small - it had been rejected previously for that reason - but it is also brilliant in every important respect.It and the museum site across the river made real the \u201cceremonial route\u201d that aims to tie Ottawa and Hull together and make a sort of lake out of the Ottawa River below Parliament.Safdie\u2019s design gathers up the galleries in a rather hulking mass to which are attached two glassy confections: a ramped concourse along the south side and the Great Hall, the lynch pin of the circulation pattern.This Great Hall is a glass evocation of the Library of Parliament; it is a charming idea, but oddly unsatisfying in execution, neither literal enough nor abstract enough.The gentle grandeur of the building and its handsome galleries, which receive natural light through a very clever system of light shafts, make, over all, a significant contribution to the architecture of the ceremonial capital.The numbers refer to the photographic article \u201c24 Other Ottawa Buildings\" elsewhere - WENTY-FOUR MORE BUILDINGS OF OTTAWA 1.CONSEIL NATIONAL DE LA RECHERCHE 100, CHEMIN SUSSEX SPROATT & RALPH, 1930-32 Le Conseil national de la recherche a vu le jour en 1916 à titre d'organisme consultatif; à la fin des années 1920, il possédait ses propres laboratoires.Cet édifice est situé sur l\u2019emplacement en partie vacant d\u2019un moulin à scie acquis en 1928 par le gouvernement fédéral dans le cadre d\u2019un programme d\u2019ouverture au public des berges de la rivière des Outaouais.Il était inévitable que quelqu\u2019un propose cet emplacement pour le Musée Mational mais Sproatt & Ralph commencèrent, cette même année, à travailler sur les plans du C.N.R.À l\u2019origine, l\u2019édifice contenait les bureaux et les laboratoires habilement répartis dans son volume.Les salles ouvertes au public comprennent un cabinet de lecture, une bibliothèque et une aire d\u2019exposition; cette dernière sert maintenant à d\u2019autres activités.Le style Beaux-Arts Classique est plutôt rare à Ottawa dans l\u2019architecture gouvernementale.Les édifices administratifs ayant des salles plutôt vastes sont également rares.Les architectes sont plus connus pour leur style gothisant; un critique de l\u2019époque trouva l\u2019édifice terne et peu pratique pour l\u2019usage projeté.Cependant, en lui-même, celui-ci est comme l'ancêtre de tous ceux qui se dressent aujourd'hui dans les espaces verts qui bordent le chemin Sussex.1.\tNATIONAL RESEARCH COUNCIL 100 SUSSEX DRIVE SPROATT AND ROLPH, î 930-32 The National Research Council began in 1916 as an advisory body; by the late Twenties it supported its own laboratories.The site for this building was a partly vacant mill site acquired in 1928 as part of the federal government\u2019s policy of bringing the riverbanks into public use.Inevitably, someone suggested this as a site for the National Gallery but Sproatt and Rolph began to work with the NRC on this design the same year.The building originally contained both offices and laboratories cleverly accommodated in its regular volume.The building's fine public interiors include a lecture hall, a library and display spaces; the latter have been converted to other uses.The building's solid, Beaux Arts Classical design is rare in government architecture in Ottawa.\u201cWorking\u201d government buildings with more than minimal interiors are also rare.The architects are better known for their work in a Gothic idiom; one contemporary critic found this design dull, and not especially expressive of its use.The building is, however, a suitable pro -genitor of the self-contained monuments in green fields that now line Sussex Drive.2.ÉDIFICE LESTER B.PEARSON 125, CHEMIN SUSSEX WEBB, ZERAFA, MENKES, HOUSDEN, 1968-73 \t La lisière nord de la Basse-Ville a été démolie pour continuer le chemin Sussex et permettre la construction du pont Macdonald-Cartier.Ces deux projets répondaient au désir du gouvernement d\u2019ouvrir au public le nord de la rivière des Outaouais et de faire du chemin Sussex une voie digne de ce nom, allant de la résidence du Gouverneur général et de celle du Premier ministre jusqu\u2019au Parlement.C\u2019est d\u2019un bureau bien connu d\u2019architectes torontois que le gouvernement a acquis cet édifice à bureaux.Ce sera la dernière contribution fédérale au programme d\u2019espaces verts mis au point pour le chemin Sussex dans les années 1950 et 1960.L\u2019édifice porte le nom de Lester B.Pearson, diplomate distingué, lauréat du prix Nobel de la paix et premier ministre du Canada.2.\tLESTER B.PEARSON BUILDING 125 SUSSEX DRIVE WEBB, ZERAFA, MENKES, HOUSDEN.1968-73 The northern edge of Lowertown was demolished for the extension of Sussex Drive and the construction of the Macdonald-Cartier Bridge.Both of these changes supported the federal govern -ment's desire that the riverbank belong to the public, and that Sussex Drive become a distinguished processional, leading from Government House and the Prime Minister\u2019s residence to parliament.In the Pearson building the government acquired corporate headquarters architecture from a well-known Toronto firm ; it was the last direct federal contribution to the monuments-and-greensward formula established for Sussex Drive in the 50s and 60s.The building is named for Lester B.Pearson, distinguished diplomat, winner of the Nobel Peace Prize, and Prime Minister of Canada.3.\tMONNAIE ROYALE CANADIENNE 320, CHEMIN SUSSEX MINISTÈRE DES TRAVAUX PUBUCS, DAVID EWART, ARCHITECTE EN CHEF, 1905-08; ADDITIONS MINEURES EN 1909, 1916 ET 1951.L'ATEUER DE LA MONNAIE, H.G.HUGHES, ARCHITECTE, 1935.;FSb\u2014 La fondation de la Monnaie royale canadienne a été une étape importante dans la longue route du Canada vers son indépendance.Comme tel, l\u2019emplacement est devenu un site historique national.L\u2019édifice est un des premiers exemples du style \u201cbaronial\u201d choisi par David Ewart en matière d\u2019architecture gouvernementale pour répondre au style gothique du Parlement au début du XXe siècle lorsque le territoire de la \u201cCouronne\u201d s\u2019étendra de façon à inclure la rue Sussex et la berge à l\u2019est de la Colline parlementaire.L\u2019Atelier de la Monnaie montre la survivance de ce style jusque dans les années 1930.En 1985, la Monnaie entreprend une grande campagne de rénovation.L\u2019idée en sera parfaitement saisie dans un titre à la une: la Monnaie paraîtra encore plus vieille.Le gouvernement et le public réussiront à persuader la Monnaie de prendre une attitude moins destructrice, plus sophistiquée mais pas avant qu\u2019une bonne partie de l\u2019édifice ne soit démolie.3.ROYAL CANADIAN MINT 320 SUSSEX DRIVE DEPARTMENT OF PUBUC WORKS, DAVID EWART, CHIEF ARCHITECT, 1905-08; MINOR ADDITIONS 1909, 1916 AND 1951.REFINERY BUILDING, H.G.HUGHES, ARCHITECT, 1935.The founding of the Royal Canadian Mint is a marker on Canada\u2019s long road to independence; as such it is recognized as a National Historic Site.The building is an early example of the \u201cbaronial\u201d style David Ewart chose as an appropriate government style, responding to the Gothic Revival of the Parliament Buildings, when in the early 20th Century the \u201cCrown\" territory first expanded to claim Sussex Street and the river bank east of Parliament Hill.The largely independent Refinery Building shows the survival of this idea into the 30s.In 1985 the Mint launched a major building campaign.The initial proposal was perfectly captured by a headline writer: Mint to Look Even Older.Regulatory agencies and the public eventually persuaded the Mint to a less destructive, more sophisticated attitude, but not before much of the building was demolished.4.\tACADEMIE LASALLE 365, CHEMIN SUSSEX VERS 1844, 1851-52,1934 ET 1965.RÉNOVATION EN PROFONDEUR ET NOUVELLE TOUR, HELMER ASSOCIATES & JOHN LEANING, 1973-75.La petite maison de ville en pierre, Donnelly House, est caractéristique de la première génération.Construite par un particulier, elle deviendra bientôt propriété de l\u2019Église.Le grand édifice en pierre a été érigé pour abriter le Collège de Bytown, la première école secondaire catholique d\u2019Ottawa, qui deviendra par la suite l\u2019université d\u2019Ottawa.L\u2019édifice est passé entre plusieurs mains avant de devenir l\u2019Académie LaSalle, une école privée catholique.À l\u2019est, les additions du XXe siècle reflètent son occupation continue.En 1971, le gouvernement acquiert l\u2019édifice.Même s\u2019il sera de courte durée, le ministère d\u2019État aux Affaires urbaines entreprendra de le rénover comme projet-modèle.On fera disparaître le troisième étage de la maison Donnelly pour lui rendre plus ou moins sa forme originale.Le toit au style bizarre est une reconstitution en métal de la forme qu\u2019il avait dans les années 1890.L\u2019intérieur de l\u2019édifice a été complètement démantelé de sorte que seules les pierres des murs extérieurs sont anciennes.4.LASALLE ACADEMY 365 SUSSEX DRIVE C.1844, 1851-02, 1934 AND 1965.EXTENSIVE REHABILITATION ANDNEW TOWER, HELMER ASSOCIATES AND JOHN LEANING, 1973-05.The small stone house, Donnelly House, a typical townhouse of the first generation, was built privately but short I y became church property.The large stone building was built for the original College of Bytown, the first Catholic secondary school in Ottawa.The college later became the University of Ottawa.The building passed through several hands, ending up as the LaSalle Academy, a Catholic private school; the 20th century additions to the east reflect this continued use.In 1971 the government acquired the building: the short-lived Ministry of State for Urban Affairs undertook its rehabilitation in part as a demonstration project.A later third storey was removed from the Donnely house and its earliest form more or less speculatively reconstituted.The curious roof of the school building is a reconstruction in steel of the form it assumed in the 1890s.This building was completely gutted: only the stones of the outer walls are of any age.32 5.GALLERY COURT 13-35, RUE MURRAY BRISBIN, BROOK, BEYNON, 1987 Le nom et la construction de ce condominium avec boutiques permettent de penser que les promoteurs ont compté profiter du nouveau Musée national; en cela, ils suivent une tradition bien dans l\u2019esprit d'Ottawa.Cependant, il y a longtemps que les citoyens de cette ville ont fait du quartier du Marché un endroit intéressant à habiter.Comme importance et densité d\u2019habitation, cet immeuble est caractéristique du développement immobilier récent d\u2019Ottawa.Son plan qui vise l\u2019efficacité, est l\u2019oeuvre d\u2019un bureau d\u2019architectes d'envergure nationale, ce qui le place à part des meilleurs projets locaux du genre qui ont plutôt recours à la brique et au style néovictorien.5.\tGALLERY COURT 13 TO 35 MURRAY STREET BRISBIN, BROOK, BEYNON, 1987 The name and timing of this condominium with shops suggest that the developers anticipated a benefit from the new National Gallery; in this they were following an ancient Ottawa tradition.Urban pioneers, however, had long since made the Market area a desirable address.In scale and density the development is typical of much recent housing in Ottawa; its very effective design, purchased on the national architectural market, sets it apart from the best local work of the same sort, which tends to brick and Neo-Victorian detail.6.LE NOUVEAU PALAIS DE JUSTICE 161, RUE ELGIN MURRAY & MURRAY GRIFFITHS RANKIN & COOK, 1983-86 \u2014U55B8- Voici un exemple où un client de l\u2019extérieur - la province d\u2019Ontario - engage un bureau d\u2019architectes local pour construire un édifice à caractère urbain.Le site, place Cartier, est par tradition un territoire fédéral, voire militaire.Il sert de limite à la protocolaire rue Elgin.Pendant longtemps, on considérera la place Cartier pour le Musée National.Avec le Palais de justice et le nouveau quartier général régional derrière, la place Cartier disparaît complètement.Pour sa part, le Palais de justice en forme de L est orienté de façon à ce que son angle intérieur regarde vers le nord-est - la plus sombre partie d'Ottawa - de sorte qu\u2019il est impossible de voir la place Cartier depuis cet endroit.Malgré cela, l\u2019édifice s'efforce de présenter une façade normale sur la rue Elgin.De toute évidence, les architectes ont entendu parler du postmodernisme: çà et là, des tourelles ornent un toit dans l\u2019esprit du Second Empire; la pierre est posée en aplat avec des joints bien visibles.Ajoutons à cela le maniérisme éculé des panneaux de maçonneries perdus dans le verre et l\u2019on s'apercevra de l\u2019incohérence écrasante de l'ensemble.6.\tNEW COURTHOUSE 161 ELGIN STREET MURRAY AND MURRAY GRIFFITHS RANKIN AND COOK, 1983-86.Here is case where an outside agency -the Province of Ontario- engaged a local architect to build a Town institution.The site, Cartier Square, is traditional federal, indeed military, territory - it provided the line at which ceremonial Elgin Street ends.Cartier Square was long touted as the site of the National Gallery.With the Court House and the new Regional Headquarters behind, the Square is lost.Indeed, the L-shaped courthouse has been oriented with the glassy inner angle facing north-east - Ottawa\u2019s darkest quarter - and makes it impossible to find any square there.Having obviated the square and abandoned the corner - a common Modernist sin in gridded towns - the building does try to présenta formal facade to Elgin Street.Evidently the designers had heard of Post-Modernism: here and there little towers hold up sort -of Second Empire roofs; the stone is laid up flat but with formally disposed joints.Add the tired mannerism of masonry panels floating in glass and the general disjointedness of the work becomes overwhelming.7.ÉCOLE NORMALE 195, RUE ELGIN WILLIAM R.STRICKLAND, 1875; ADDITIONS ULTÉRIEURES 7\u2019 Exemple typique de l'architecture du XIXe siècle dans ce qu\u2019elle a de plus éclectique: les styles italianisant, Second Empire et gothique se mêlent adroitement pour inspirer les étudiants.Cette école normale est une relique d\u2019une époque où l\u2019on réformait l\u2019enseignement: les futurs enseignants y feront leurs études jusqu\u2019en 1978, année où cette institution sera amalgamée à l\u2019université d\u2019Ottawa.Le gouvernement fédéral acquerra cet édifice.Pendant plusieurs années, on discutera quoi faire avec.En fin de compte, il deviendra la propriété de la municipalité régionale d'Ottawa-Carleton.À l\u2019heure actuelle, on le rénove pour qu'il accueille son nouveau centre administratif.7.\tTEACHERS COLLEGE 195 ELGIN STREET WILLIAM R.STRICKLAND, 1875; LATER ADDITIONS.This is 19th century architecture at its most eclectic: Italianate, Second Empire and Gothic aspects deftly combined in aid of teacher training.The Teacher\u2019s College is a memento of an era of educational reform: aspiring teachers were trained here until 1978, when the institution was transferred to the University of Ottawa.The property was first transferred to the federal government.For some years there was considerable debate about what to do with it.Eventually, the building was transferred to the Regional Municipality of Ottawa Carleton; it is currently being restored as part of their new headquarters.8.LE MUSÉE VICTORIA RUES METCALFE ET MACLEOD MINISTERE DES TRAVAUX PUBLICS, DAVID EWART, ARCHITECTE EN CHEF, 1905-1911 Le musée est le premier construit à Ottawa dans un but fonctionnel et le plus important de plusieurs édifices conçus par Ewart dans la première phase d'embellissement d'Ottawa, la \u201cWashington du Nord\u201d.Le plan original comprenait une tour stylisée avec un tympan au-dessus de la porte principale.Bien que le sol d\u2019Ottawa soit rocheux, on y trouve des poches d\u2019une argile particulièrement traîtresse.Par malheur, Ewart construisit le musée sur cette argile.L\u2019édifice commencera tout de suite à s'enfoncer de sorte qu\u2019il faudra démolir la tour, laissant un vide vers le centre.Depuis lors, celui-ci n\u2019a jamais cessé de s'enfoncer tranquillement.8.\tVICTORIA MUSEUM METCALFE AND MACLEOD STREETS DEPARTMENT OF PUBLIC WORKS, DAVID EWART, CHIEF ARCHITECT, 190S-1911.This was Ottawa's first purpose-built museum and the most ambitious of the several buildings Ewart designed for the first, \u201cWashington of the North\", phase of the beautification of Ottawa.The original design had an elaborate tower with an open tracery crown over the front door.Though much of Ottawa soil is rock there are pockets of a particularly treacherous clay.Ewart unfortunately placed the museum on the clay.The building began immediately to subside: the tower was removed forthwith, leaving the building a bit vacant about the middle.The building has continued to subside gently never since.9.POSTE DE POLICE D'OTTAWA RUES ELGIN ET CATHERINE G.E.BEMI & PYE & PICHARDS, 1981-83 La police préfère toujours une forteresse mais, pour des raisons politiques, les échelons supérieurs veulent pouvoir parler de service au public et d\u2019accessibilité.À notre époque, les postes de police ont, dans certains endroits, trouvé dans le verre un moyen de résoudre les contradictions de leur présence.Ici, la police d\u2019Ottawa a eu sa forteresse, sous une forme quelque peu ramassée et disparaissant dans le milieu bâti.Quant aux échelons supérieurs, ils ont au rez-de-chaussée une arcade en blocs de verre, seule partie de la rue Elgin où le piéton ne règne pas en maître.9.\tOTTAWA POUCE STATION ELGIN AND CATHERINE STREETS G.E.BEMI AND PYE AND RICHARDS, 1981-03 Police want fortresses, but for political reasons their managements want to be able to talk about community outreach and service to the public, ie.accessibility.Police stations of this era in several places found in glass block a way of resolving these contradictions in the programme.In this case the Ottawa police got their fortress, gently massed and somewhat submerged in the site, and the politicians got a street level arcade backed with glass block - on the only block of Elgin Street with no pedestrian character to speak of. 10.CENTRE DELA BANQUE ROYALE 90, RUE SPARKS DAVID, BOULBA, CLEVE, 1978-81 Ayant vu le jour en 1960 en tant que mesure temporaire pour l'été, le mail de la rue Sparks deviendra permanent en 1967.L'un des premiers du genre, il sera pendant des années une véritable réussite dans le genre.Par contre, son succès même amènera une exploitation abusive des éléments qui l\u2019ont rendu possible.Avec ses surfaces bien lisses et ses espaces publics généreux, le Centre de la Banque Royale a éliminé toute une rangée de boutiques et caché la lumière et un bout du ciel.À la place, on trouve un espace intérieur privé avec quelques magasins séparés de la rue par un mur triste et impénétrable.Le mail est théoriquement régi par des règlements qui en limitent la hauteur pour préserver la lumière du jour tout en donnant aux promoteurs des volumes convenables pour la construction.Au moment d\u2019écrire ces lignes, Ottawa est sur le point d\u2019approuver un autre projet qui fera fi de ces règlements.10.\tROYAL BANK CENTRE 90 SPARKS STREET DAVID, BOULVA, CLEVE, 1978-81 The Sparks Street Mall began in 1960 as a temporary summer expedient, made permanent in 1967.It was an early, and for many years very successful example of the type.Typically, Its success has drawn development antithetical to what made it successful in the first place, of which this is good example.For all its careful slick surfaces and generous public spaces, the Royal Bank Centre has removed a public texture of shopfronts and, of course, light and sky, from the Mall and offered in its place a private indoor space with a few shops separated from the street by a bland and impenetrable wall.The Mall Is theoretically governed by height restrictions designed to preserve some natural light while giving developers generous buildable volumes; as I write the City of Ottawa is about to approve another development that will overturn these rules.11.\tÉDIFICE MONTREAL TELEGRAPH HIMMMMHlilMIII E g- B B B naan 93, RUE SPARKS KING ARNOLDI, 1870-71 Cet édifice a été érigé pour abriter deux des nombreuses entreprises de sir Hugh Allen: la Montreal Telegraph et la Merchants\u2019 Bank of Canada.Bien que les fonds soient venus de Montréal, le plan de cet édifice est l\u2019oeuvre d\u2019un architecte de l\u2019endroit.Sa conception éclectique, qui s'inspire du Second Empire, montre à quel point les grands courants architecturaux ont pénétré l\u2019architecture locale.L\u2019importance de l\u2019édifice et de ses premiers occupants évoque l\u2019émergence de la rue Sparks comme première grande artère commerciale d\u2019Ottawa.Le toit de l\u2019édifice a été maladroitement restauré, tandis que le rez-de-chaussée a été rénové avec plus de goût.11.MONTRÉAL TELEGRAPH BUILDING 93 SPARKS STREET KING ARNOLDI, 1870-71 The building was built for two of Sir Hugh Allen's numerous concerns, the Montréal Telegraph and the Merchants\u2019 Bank of Canada.Although the financing came from Montréal, the design is the work of a local figure.The building\u2019s eclectic design, based loosely on the Second Empire style, is an indication of the diffusion into a local architecture of mainstream architectural Ideas.The substance of the building and its first tenants are an indication of Sparks Street\u2019s emergence as the premier commercial street of Ottawa.The building has been grossly altered in the roof and more gently changed at the ground floor.12.ÉDIFICE C.D.HOWE 240, RUE SPARKS ADAMSON ASSOCIATES, 1974-77 Bien que la Banque du Canada soit pratiquement indépendante du gouvernement, les propositions avancées à propos de ce site ont suggéré un projet conjoint avec le gouvernement grâce à une extension du plan de base de la Banque au sud de la rue Queen, sur la rue Sparks.Ainsi, le 240 de cette rue sera construit avec une grande économie de moyens tout en insistant sur une certaine affinité entre les deux édifices.Dans ce but, on se contentera d\u2019un verre de couleur verte pour la faire ressortir.En gros et en détail, cet édifice n\u2019est qu\u2019une grossière caricature du bâtiment plus raffiné de la Banque.On a posé deux miroirs l\u2019un en face de l\u2019autre pour donner une impression de recul à l\u2019infini, ce qui équivaut à une incompréhension flagrante de ce matériau et de la signification du mot \u201crue\u201d.Pour ajouter à ces incongruités, on vient d\u2019ajouter un troisième édifice en verre du même ton à l\u2019angle des rues Bank et Kent.C\u2019est la première fois qu\u2019à Ottawa les marguillers d\u2019une vieille église du centre-ville se sont transformés en promoteurs pour soutenir les activités de leur paroisse, pratique aujourd\u2019hui fort répandue.12.\tC.D.HOWE BUILDING 240 SPARKS ADAMSON ASSOCIATES, 1974-77 Although the Bank of Canada is largely independent of the government, the first ideas for this site suggested a joint development with government space in an extension the Bank's basic design south to Queen Street, encompassing Sparks Street.In the event, 240 Sparks was built separately to a rock-bottom financial model, but some sense that the two buildings ought to be sympathetic persisted.The green glass - any green glass will do - was evidently felt sufficient for \u201csympathy\u201d; in form and detail 240 Sparks is a gross caricature of the Bank\u2019s distinguished building.That anyone could put two mirrors in parallel, setting up an infinite regress, is a breathtaking misapprehension both of the nature of the material and of the meaning of \u201cstreet\u201d.In some competition of obliviousness, a third green glass building, fondly known as \u201cThe Second Empire Strikes Back\", was recently added to the corner of Bank and Kent.This is Ottawa\u2019s first example of the widespread practice of elderly downtown churches becoming developers in order to support their ministries.13.ÉDIFICES MEMORIAL RUES WELLINGTON ET LYON ALLWARD & GOUINLOCK, 1949-58 Ces deux édifices forment un ensemble qui loge les ministères des Anciens Combattants et du Commerce.Ils ont été construits en deux étapes.Entre les deux, l\u2019arc Memorial n\u2019est plus aujourd'hui qu\u2019un objet de curiosité mais, en 1938, le plan Greber prévoyait qu\u2019il mènerait à une place avec une maison d\u2019opéra en son centre et des hôtels tout autour.Aujourd'hui, on trouve bien des hôtels à cet endroit mais pour des raisons différentes.L\u2019architecture de ces édifices reste traditionnelle et encore convaincante dans ce quartier de prestige.Même les toits de cuivre, devenus le joyau du style officiel des édifices de la Couronne, sont devenus plus intéressants avec le temps et adoucissent la laideur de l\u2019hybridation des éléments traditionnels et modernes dans le plan architectural.13.\tMEMORIAL BUILDINGS WELLINGTON STREET AT LYON STREET ALLWARD AND GOUINLOCK, 1949-58 The two buildings were designed as one complex for the Departments of Veterans Affairs and Trade and Commerce and built in two phases.The Memorial Arch between them is now just a curiosity, but had the 1938 Greber plan come to fruition it would have lead to a square with an opera house in the middle and hotels around the fringes.There are now hotels in the area, but for quite different reasons.The architecture of the buildings is the last even somewhat convincing traditional design in the ceremonial core.Even the tentative copper roofs, which by then had become an icon of the official style for Crown buildings, become more persuasive as time mutes the pain with which we notice the hybridizing of traditional and Modern elements in the design.14.\tÉDIFICE WELLINGTON (ANCIEN ÉDIFICE METROPOLITAN LIFE) 180, RUE WELLINGTON D.EVERET WADE, 1924-27; RAJOUT; MARANI, MORRIS & ALLAN, 1957-61 L'ancienne partie de cet édifice abritait les bureaux d\u2019une compagnie qui savait de quoi elle parlait.À l\u2019inauguration, la publi- I cité déployée pour l\u2019occasion est pleine de ces merveilles de paternalisme dont il était doté.Tout pour la santé et la productivité des employés.Dans le hall, on voit encore une mosaïque représentant la Grande-Mère de l\u2019assurance réconfortant les gens dans le besoin.Aujourd'hui, cette oeuvre sert à l\u2019édification des sénateurs et du personnel du Parlement.C\u2019est un vénérable bureau d\u2019architectes de Toronto qui a dessiné les rajouts dans un style approprié à l\u2019ensemble de l\u2019édifice.14.WELLINGTON BUILDING (FORMERLY METROPOLITAN LIFE BUILDING) 180 WELUNGTON STREET D.EVERET WADE, 1924-27; ADDITION MARANI, MORRIS AND ALLAN, 1957-61.The original part of the building was a classic paperwork factory by an institution that knew whereof it spoke.The propaganda put out when the building opened is full of wonderful patter about the paternalistic gestures incorporated in the building, all for the health and productivity of the workers.In the lobby a mosaic of the Great Mother insurance company comforting the needy survives, now for the edification of Senators and staff of the House of Commons.The addition is an appropriately conservative and supportive work by a very old Toronto firm. 15.BANQUE DE MONTRÉAL 144, RUE WELLINGTON BAROTT & BLACKADER, 1930-34 nT ut i|iM i \u2022 m 11 Le plan de cette élégante architecture I \u201cClassique dépouillée\u201d a reçu la médaille I d'or de l'Institut royal d'Architecture.Son ; 1 ornementation fait appel à des références j; 1 canadiennes.La publicité de la Banque en I est l'élément le plus marquant.Ainsi, sur ; ; I l\u2019un des panneaux, on trouvera les bu-/_ ; I reaux de la Banque auréolés de gloire.Il y ¦¦ u 1 a également une inscription sur le parapet \u2022 I nord, face au Parlement, qui rappelle au gouvernement l\u2019origine ancienne de la : I Banque de Montréal.Un grand hall en occupe presque tout le volume intérieur.i6feu|| Même s\u2019il est un peu trop éclairé, il n\u2019en lir:- 1 est pas moins un espace d\u2019une grande NG 1 efficacité.m il 15.BANK OF MONTRÉAL 4 144 WELLINGTON STREET J BAROTT AND BLACKADER, 1930-34 («w.1 The design of this elegant Stripped ft Classical box won the Royal Architectural jijjtfil Institute of Canada's Gold Medal.Its 1,15#I ornament includes Canadian references.Ifcffiip\u2019l but is most delightful for its advertise-iijfEal ments of the bank - in one panel, for in-fcfS'ij stance, you will find the Montréal head-l(ji«llitl quarters of the bank wreathed in glory.(#ît;ï| Consider also the inscription on the north iffiitcW parapet, addressing Parliament, in which itoajffl/I the Bank reminds the government of its , I ancient foundation.A generous banking ÿfliffïl hall takes up most of the interior volume.jÿiisïil Although now somewhat over lighted, it is still a very effective space.16.ÉDIFICE DE LA CONFÉDÉRATION RUE WELLINGTON, ANGLE RUE BANK MINISTERE DES TRAVAUX PUBLICS, 1929 Avec cet édifice, le gouvernement a fini par construire quelque chose sur un terrain acquis par lui en 1912.Ce bâtiment annonçait également que le style officiel du gouvernement serait désormais le style Château.Aussi longtemps que W.L.Mackenzie King sera au pouvoir pour les défendre, les toits verts en cuivre seront le joyau de l\u2019architecture fédérale à Ottawa.16.CONFEDERATION BUILDING WELLINGTON STREET AT BANK STREET DEPARTMENT OF PUBUC WORKS, 1929.With this building the government finally built on territory it had acquired in 1912.The building also announced that the official style of the governmental core would be a rugged Chateau Style; as long as W.L.Mackenzie King stayed around to enforce the idea, green copper roofs at least were the icon of federal architecture in the capital.17.TOURS DU CENTENAIRE 200, RUE KENT CORPORATION CAMPEAU (PETER DOBBING, CONCEPTEUR], 1964; NOUVEAU REVÊTEMENT ET RÉNOVATION PAR BLOOD HOUGHTON HUGHES MARSHAL, ARCHITECTES, 1982-83 mem 'dp-.!.- »?\u2022 : CeoVervrvWi îooiwsi mu** [ Voici le deuxième plus intéressant édifice en verre de la capitale fédérale (préférable à la foule des candidats à la troisième place).C\u2019est aussi la première fois qu\u2019un bâtiment du boom de la construction des années 1960 est dépouillé jusqu'à l'ossature pour lui poser un nouveau revêtement.L\u2019économie d'argent ainsi réalisée sera si convaincante que, peu après la fin de ces travaux, la Corporation Campeau entreprendra également des modifications aux édifices de Place de Ville pour les mettre à la page bien que, dans ce cas, les modifications au revêtement aient été minimes.Le bâtiment cruciforme sera revêtu d'une façade en béton précontraint dégageant de nombreuses verticales et dotée de petites fenêtres en saillie.En revêtant les mêmes surfaces d'un verre de bonne qualité, l\u2019édifice offre maintenant une vision toute scintillante.17.CENTENNIAL TOWERS 200 KENT STREET CAMPEAU CORPORATION (PETER DOBBING, DESIGNER!, 1964.RECLAD AND REFURBISHED BY BLOOD HOUGHTON HUGHES MARSHAL, ARCHITECTS, 1982-83.This is the second best mirror glass building in Ottawa (and vastly better than the mob competing for third place).It is also the first time here that a product of the Sixties building boom has been stripped to structure and given a new dress.The economic calculation involved, however, is so persuasive that shortly after Campeau Corporation did this work on 200 Kent, they altered the Place de Ville buildings to keep them \u201cA\" space, although in that case the change to the cladding was minimal.The original cruciform building was clad in a quite successful pre-cast system with a lot of verticals and wee bay windows.Rendering effectively the same shapes in a good quality glass has produced a striking faceted, shimmery building.18.ÉDIFICE DE L'ALLIANCE DE LA FONCTION PUBLIQUE 233, RUE GILMOUR SCHOELER HEATON HARVOR MENENDEZ, 1968-69 ¦ v .y j S=s > F-VS L\u2019Alliance de la Fonction publique est le plus important syndicat des fonctionnaires fédéraux.L\u2019édifice de son siège social, qui abrite toute une machine bureaucratique, témoigne d\u2019un souci d\u2019esthétique architecturale plus évident chez la partie syndicale que chez la partie patronale.Les architectes, dont l\u2019adresse d\u2019affaires est à Ottawa, sont réputés pour leurs oeuvres de style moderniste, élégantes et souvent originales.18.PUBLIC SERVICE ALLIANCE BUILDING 233 GILMOUR STREET SCHOELER HEATON HARVOR MENENDEZ, 1968-69 The Public Service Alliance is the largest civil service union.Its headquarters building, while, of course, basically a bureaucratie factory in function, suggests that the union was rather more interested in decent architecture than its employer.The architects, based in Ottawa, have consistently produced elegant, often original Modernist works.19.TERRASSES DE LA CHAUDIÈRE PROMENADE DU PORTAGE ET RUE EDDY, HULL ARCOP ASSOCIÉS ET AUDET, BLAIS ET GRONDIN, ARCHITECTES ASSOCIÉS, 1976-78 \" I La fièvre de reconstruction de la ville de Hull qui s\u2019est emparé du gouvernement fédéral dans les années soixante-dix s\u2019est propagée bien au-delà des abords de la rivière, à l\u2019extrémité ouest du centre-ville.Dans ce cas-ci, le gouvernement a su orienté les compétences de la compagnie Campeau au profit de ses ambitions en lui garantissant un bail à très long terme.L\u2019édifice le plus à l\u2019ouest est un hôtel et les trois autres édifices sont des tours à bureaux ordinaires dont les rez-de-chaussée servent d\u2019aires commerciales.L\u2019emplacement même des édifices, les jardins qui les séparent et la serre ou jardin d\u2019hiver intégré contribuent à rendre ce complexe beaucoup plus attrayant que celui de Place du Portage à l\u2019est.Le joli parement de briques marron dont les édifices sont recouverts vient en quelque sorte réparer ce léger accroc dans le tissu urbain et rend le coup d\u2019oeil plutôt agréable au passant.79.TERRASSES DE LA CHAUDIERE PROMENADE DU PORTAGE AND EDDY STREET, HULL ARCOP ASSOCIATES AND AUDET, BLAIS AND GRONDIN, ASSOCIATED ARCHITECTS, 1976-08 The enthusiasm for rebuilding Hull that gripped the federal government in the Seventies extended away from the riverfront here, at the western extremity of the downtown.In this case the government directed the skills of the Campeau company in support of its ambitions by taking a very tong lease on the complex.The westernmost building is a hotel; the remaining three buildings are ordinary office towers, with some commercial space in their ground floors.The disposition of the buildings on the site, the gardens between them and the conservatory or winter-garden included in the complex, however, make this a much superior development to the Place du Portage complex to the east.The buildings are well clad in a carefully detailed brown brick that goes some way towards minimizing their intrusiveness in the town and makes them quite pleasant to pass through. (Non désigné sur la carte) (Not On Map) 20.OBSERVATOIRE DOMINION FERME EXPÉRIMENTALE CENTRALE, AVENUE CARLING ET IRVING MINISTÈRE DES TRAVAUX PUBUCS, DAVID EWART, ARCHITECTE EN CHEF, 1899-1900 a.La présence de Thomas Fuller aux premiers stades de ce projet pourrait expliquer la robustesse de ses lignes, les dernières productions de Ewart à Ottawa s\u2019étant révélées moins énergiques.Il s\u2019agissait là probablement d'un emplacement de choix en 1900, mais avec les années, la croissance de la ville et l'éclairage plus intense des rues lui ont fait perdre de la valeur.Le télescope a été déplacé; il est présentement exposé au Musée des Sciences et de la Technologie.20.DOMINION OBSERVATORY CENTRAL EXPERIMENTAL FARM, CARUNG AVENUE AT IRVING DEPARTMENT OF PUBUC WORKS, DAVID EWART, CHIEF ARCHITECT, 1899-1900 Thomas Fuller was still at Public Works during the early work on this project.This may account for its comparatively robust design; Ewart's later work in Ottawa is in some ways less vigorous.The \"seeing\u201d at this site was probably good in 1900, but within a few years the growth of the city and the increase in street lighting rendered it less satisfactory.The telescope has been removed and is now on exhibit at the Museum of Science and Technology.21.LAITERIE PRINCIPALE (MUSÉE DE L'AGRICULTURE) FERME EXPÉRIMENTALE CENTRALE PRINCE OF WHALES DRIVE MINISTÈRE DES TRAVAUX PUBUCS, 1913 La création de la Ferme expérimentale centrale remonte à 1887; les premiers bâtiments comprenaient le logement d\u2019un certain nombre d\u2019employés et quelques granges.Le grand bâtiment original fut incendié en 1913, mais l\u2019édifice actuel en est une copie très fidèle.Le grenier fut converti en musée en 1983-1984, mais le rez-de-chaussée demeure réservé au bétail.Depuis le tout début, la Ferme, et l\u2019Arboretum, sont un lieu de visite très prisé.Dans les années 1900, c\u2019était un des terminus du réseau de tramways.Aujourd'hui, par les belles journées de juin, le visiteur peut difficilement éviter les nombreux couples de jeunes mariés qui viennent se faire photographier dans les jardins.Ce grand espace vert dans la ville est un merveilleux don que les gens apprécient depuis longtemps.21.MAIN DAIRY BARN (AGRICULTURAL MUSEUM) CENTRAL EXPERIMENTAL FARM PRINCE OF WHALES DRIVE, DEPARTMENT OF PUBUC WORKS, 1913 The Central Experimental Farm was founded in 1887; the first generation of buildings included housing for some of the staff and a number of barns.The original great barn burned in 1913, but this building is a very close reconstruction.The loft was converted into a museum in 1983-84; the cattle in the lower floor are also on view.The Farm, including the Arboretum, has been a pleasure seeker\u2019s destination from early on.It was a terminus of the street railway system after 1900; on a pleasant June day one is hard pressed to avoid wedding parties being photographed in the gardens.The existence of this large tract of land within the town has long been recognized as an extraordinary good fortune.36 22.BIBLIOTHÈQUE DE L'AÉRONAUTIQUE CONSEIL NATIONAL DE RECHERCHES CHEMIN DE MONTRÉAL H.G.HUGHES, 1938 Peu de temps après l\u2019érection de l\u2019édifice de son siège social sur Sussex Drive, dans le pur style classique, le Conseil national de recherches se dote d\u2019un campus de recherche.Les édifices y sont construits dans la plus grande simplicité; il s\u2019agit souvent de modestes abris servant à garder le matériel au sec.La Bibiliothèque, le premier édifice du campus, présente des formes modernes qui reflètent l\u2019aspect futuriste de la recherche et de la technologie.22.AERONAUTICAL RESEARCH BUILDING NATIONAL RESEARCH COUNCIL MONTRÉAL ROAD CAMPUS H.G.HUGHES, 1938.Not long after completing its Classical headquarters building on Sussex Drive the NFIC established a research campus.The buildings here are much more straightforward, often unassuming sheds to keep the equipment dry.This building was the first; its slick Moderne forms capture the futurism inherent in research and technology.23.INSTITUT CANADIEN DE L'INFORMATION SCIENTIFIQUE ET TECHNIQUE CONSEIL NATIONAL DE RECHERCHES CHEMIN DE MONTRÉAL SHORE TILBE HENSCHEL IRWIN, 1974 Cet édifice représente assez bien les constructions plus ou moins expressives des années soixante-dix, sans en être toutefois des modèles de «bas de gamme».Quoi que son nom puisse évoquer, l\u2019immeuble abrite une bibliothèque dont l\u2019architecture est imprégnée d\u2019une période où les constructions de cette catégorie, musées, galeries d\u2019art, bibliothèques, se devaient d\u2019être des masses impénétrables.23.CANADIAN INSTITUTE FOR SCIENTIFIC AND TECHNICAL INFORMATION, NATIONAL RESEARCH COUNCIL MONTRÉAL ROAD CAMPUS SHORE TILBE HENSCHEL IRWIN, 1974 This building is a fair representation of its generation of more or less expressive, not quite \u201cbottom line\" buildings.This is a library, whatever the name might suggest; this is the period that taught us that libraries, art galleries and such had to be impenetrable solids.24.MUSÉE DE L'AVIATION AVIATION PARKWAY, ROCKUFFE MINISTÈRE DES TRAVAUX PUBUCS, GUY DESBA-RATS, SOUS-MINISTRE ADJOINT, CONCEPTION ET CONSTRUCTION, ÉDIFICE OUVERT EN 1988 KfitMi Depuis son invention, l\u2019avion tient une place importante dans l\u2019histoire du Canada et plusieurs pages de cette histoire demeurent vivantes dans cette région d\u2019Ottawa: l\u2019aéroport de Rockliffe et la base de Rockliffe de l\u2019Aviation royale canadienne représentaient le lieu privilégié où exposer la riche collection d\u2019avions historiques du Canada.Depuis plusieurs années, cette collection se trouvait dans les hangars de la Deuxième Guerre mondiale, eux-mêmes d\u2019importantes reliques du passé de l\u2019aviation.Dans les années soixante-dix, la Commission de la capitale nationale, qui souhaitait prolonger la route bordant la rivière des Outaouais, vint confondre ses aspirations aux questions touchant l\u2019avenir de l\u2019aéroport - désormais réservé aux avions légers - et au besoin évident d\u2019un édifice convenable pour le Musée de l\u2019aviation.Il en est résulté une nette dévaluation de la propriété: les hangars ont été démolis pour établir un tracé purement arbitraire de la nouvelle route et l\u2019aéroport s\u2019en trouve réduit.L\u2019édifice triangulaire pourvu d\u2019une structure qui en constitue le principal attrait visuel, est le seul projet d\u2019importance conçu par les Travaux publics depuis les années cinquante.24.AVIATION MUSEUM AVIAOON PARKWAY, ROCKCUFFE DEPARTMENT OF PUBUC WORKS, GUY DESBARATS, ASSISTANT DEPUTY MINISTER, DESIGN AND CONSTRUCTION, OPENED 1988 From their invention aircraft were very important in the history of Canada and much of that history can be commemorated in this part of Ottawa: the Flock-cliff e airport and the Ftockcliffe base of the Royal Canadian Air Force provided an obvious site for Canada's significant collection of historic planes.For many years the collection was housed in Second World War hangars, themselves significant artifacts of aviation history.In the Seventies the NCC\u2019s imperatives, mainly a desire to extend the riverside parkway, intersected with questions about the future of the airport - used for light planes - and the Aviation Museum\u2019s undoubted need for a suitable building.The result is a net diminution of the richness of the site: the hangars were demolished for an entirely arbitrary alignment of the new parkway, and the airport is reduced.The building, a tautly surfaced triangle within which the structural system is the main visual delight, is the only Public Works in-house design of consequence in the capital since the Fifties.nr hot ram Les numéros en rouge se rapportent a l\u2019article «Twenty-Four More Buildings Of Ottawa.» The red numbers refer le \u201cTwenty-Four More Buildings Of Ottawa.\" Les numéros en bleu situent les illustrations de l'article «Evolving Images: Architecture In Ottawa The blue numbers refer to the illustrations in \u201cEvolving Images: Architecture In Ottawa.19 % PROM DU PORTAGE .; ; MAJOR'S HILL PK.4 PARLIAMENT HILL beausoleii GLadstohb > 17 FOUR CURRENT PROJECTS THE CHAMBERS PROJECT TÉTREAULT PARENT LANGUEDOC/PANZINI ARCHITECTES.In the west side of Confederation Square two fine older buildings are to be rehabilitated as part of a comprehensive redevelopment of the block.The Elgin Chambers, 1890-91, J.J.Browne, architect, is the lively Queen Anne block in the corner of Queen and Elgin Streets; the Scottish Ontario Chambers, 1883, William Hodgeson, builder and designer, is the solid Italianate building in the corner of Sparks and Elgin.In 1987, the National Capital Commission held a proposal call in two parts.First it selected a developer, then the developer engaged three architects to prepare designs for the site from which the NCC chose one.38 THE DALY BUILDING DESNOYERS MERCURE/ PANZINI ARCHITECTES.IEG MOW A CI® The Daly Building, Ottawa\u2019s first department store, was built in 1904-05 to designs by Moses Chamberlain Edey; its upper two stories and four northern-most bays were added in 1913.The building has stood empty for many years and is something of an eyesore.Besides, it stands on land that every traffic planner in Ottawa covets so as to be able to make the complex Rideau/ Sussex intersection even more so.Starting in 1976, when the building was slated for demolition, the local heritage community persuaded the town to value the building as a rare example of its style.In 1986, the National Capital Commission, which owns the building, held a proposal call in two parts.First it selected a developer, then the developer engaged three architects to prepare designs for the site from which the NCC chose one.After sun dirt Colege(1l T 1 mMgmi rH ifllS j .iii;TTOaE :T2TT~~ 3» m m gieU i'MA - S® r, -nwa -a*» \u2022 I REGIONAL HEADQUARTERS COMPLEX MORIYAMA & TESHIMA ARCHITECTS WITH KOHLER, DICKEY AND EDMUNDSON, ARCHITECTS AND SPENCER HIGGINS, RESTORATION ARCHITECT.is ; ns f x Rito\u2019 ipls olfcj salcali1 After some twenty years in anonymous rented accommodation, the Regional Municipality of Ottawa-Carleton is building a new headquarters, including the renovation of the old Teacher\u2019s College (1875; W.R.Strickland).2 \u2022\u201c 2*11 2 2 r - r \\ / ¦> i -u V .> > 1 > In.^ ^ i \";^y^>\u2018Vy'V> t ;-ir Qtsl j i V : 7, A \u201e i 5 \t\t^ ¦ \u2022 uà\t\t¦ \t\tpec- r~i \t\t M .-\t\ta l inn rri \u2022% ^ -> ^ \u2022** IISGAR STREEI ^£3i^ 3JÉ OTTAWA CITY HALL ADDITION MOSHE SAFDIE AND MURRAY AND MURRAY, ARCHITECTS.SiskStsSSg&M n 1 WMè > f jISi< Ü8M mm In the summer of 1987, the City of Ottawa decided to renovate and add to its existing building (Rother, Bland, Trudeau , 1958).This was the end of a long debate during which the press and population of Ottawa had to come to grips with what to do with a distinguished example of a style the public never much liked.The costs of the alternatives were about the same, so the choice was not much influenced by \u201cpractical\u201d considerations.The council\u2019s vote, nine to seven, probably about represents the popular view of the \u201cheritage\u201d value of the existing building.Moshe Safdie and Murray and Murray were the winners of a conventional design competition held in 1988.I! iLinnr .2 J 4 » \u2022> * # & T»,:* IS*a 39 r' 1 ¦ w* : sfniinn m i ër: ' - \u2022/\t.-i *v i ¦ - *sæs;i»K ««aao» Ramca partage avec vous d même satisfaction d'édifier, d'ii et d'harmoniser la qualité l'esthétique au coeur dj quotidien.Nous ! V entra-QUtrc 3C Mî collai: -dersou jn ter, étrorl - -\t-\u2014\u2014 m» p.\t\u2022_ ¦ JT,\tijir-r- CAUTION \u2022 NO C.\t.ATTENTION \u2022 PAS DE PLONGEON .¦ 'wrmm ; : .\t: l ;\u2022 s ¦:: i - i\u2018 Wy< ;s0 V ssgifi V\t.-\u2018.\"' X.¦ ¦ - : .' ,'\"x.¦¦ Les Carreaux Ramca liée Ottawa 515 Industrial Ave (613) 5234758 Montréal 1085, ave Van Home (514) 270-9192 Laval Centre de distribution 1225, rue Bergar (514) 629-5650 (514) 629-5658\t.Québec 1240, bout Charést Q.(418) 683-2987 Toronto Designers Walk 354 Davenport Road [416P781-6521 170Tycos Dr)\u2014-.(416)781-5521 4isîÿ||tejgagÿ.Plus servir.Vîsircs-îa succursale \u2022ap-us.:, près de^cbez vous.Pour plus de \"\" renseignements, composez: [5)4)270-9132.\t.Sans fràfe: 1-800-361-7836.0Sv^19*° N'ouvrez pas la porte àn importe qui.SÉCURITÉ 3256, Grande-Allée, St-Hubert, Qc J4T 2S5 Pour beaucoup de gens, un système d\u2019intercom vidéo c\u2019est avant tout un décor.mais pour nous c\u2019est l\u2019Option Sécurité.\u2022\tUnités solides, de qualité supérieure \u2022\tLigne simple et classique \u2022\tEquipement à la fine pointe de la technologie \u2022\tDisponible en différentes couleurs: blanc, beige et gris charcoal Alors, pour obtenir des renseignements ou tout simplement pour une estimation gratuite, communiquez avec nous 871-8407 ,~v;' v Produits^ BRIQUEDECAbC (514)691-6956 'iCCfithir ri VVV\t.\t.\u2018 v.L'y \u2019\t0' .iS» ^\t\u2018T \t.S*-* 'l'y' l - ?S.\u2018 \u2022\\S'?ik v.- .r«V>- C,|V.\t V *»>*.'v* .'ÎV : f;.*- J3K ^\t°.v/ 4 f\t\\X.» f\\ \u2022 -¦%/v.»-\t - 4' \u2022 -\t £ a*\"* \\f> *Sv VW.' ' *.»\t'»V\t'.?\u2019» »¦ -© 'V;', .£*\u2022- it.V V .if V *v *.?r% ^4^;\t1\t-\\ , \u2022 \u2022 .^v-.*v\tv;\t;^vv.- : 3\u2018vV.,-V\u201c- .\u2022- ^v C: v\t¦'&% ( s.^ ¦'\t\u2019 Hs V* :\u2022 ¦.\t\u2022- i.\t.* < v\"¦;¦' v .;.'\t;-\u2022 v *;v; » «îVSiî»V» ?».««,.»i i Dï- \u2022 V v: \u2022-\u2022;\u2022\u2022 \u2018'Ik V-ir .\"\u2022 J '¦ i .*.'v \u2019«vVA'v'-'A .V ¦\" .K» \u2022 \u2022 \u2022'-\u2022¦ :\t£v.> ?:«¦\u2022.Aiv- 9£ Vto',>4 \u2022\u2022\u2022\u2022\u2022Ti?rin* .»»¦*.y, s- .7 ?\t\u2022\u2022\t.-4 ;\u2022 Y\u2019MiÂ\t:< W \u2022¦}:* * \u2018 \u2022> i*.v.\\'11 ' .< )t-\t.v *K v.'>.¦, .oYvLy.'yy y \"Ay -0H\u2019» v.\\.''v*, ¦ \u2022;; .' 7*'\u2019 , ;>\u2022 .\t¦ 4.'¦ -1.' *' i 1 ' ¦ \u2018.-y .¦1, V ¦\t.Vv'y '.*4, ¦; \u2022\u2022\t-\tV S \u2019l., -.iüï, ¦¦¦¦'\t4,7/j, -I V- .v y ; 5f-7-^.; .i \u2022 >, 7 ' -v : v.£j\\ ©vs.» ;.r.\u2022 >.'\u2022* ex-l v >»©.!», GAGNON, GU>n,LETELLIER et\u2019ROSS Architectes -¦! ,\t, ' r .t i \u2022 \u2022A''»:\t*: x-/ f K- .«\t-¦*\t'U* w*.»«» ,-\u2022 ¦,11 >>.x\tJV \u2022 .'\u2022\t+.: ÏV ¦\tk .\u2022'-?.:v;.;v4.'\\î' , ¦\u2022¦ ;- %\t}\t7.¦«¦ ¦ -¦'\t¦,'.¦¦ ¦' \u2018\"i < (\u2022 .- t\u20221 .\t1 - V¦ X.'¦ Vv l! V ;V ¦ I 44V.;>VK; Vl 4 \u2022>' fcN© J *¦ \u2022 .\u2022\t>\u2019 X' ¦ X '\u2019V RIQUE DE CALCITE PERMACON-MONTCO La beauté à toute épreuve * a WUVT Skv' T'Wïfyf* r.i > r* > n w v **t® ?3§^' efc- P I ERI ERMACON-MONTCO vous propose ie plus grand choix de produits d\u2019aménagement paysager en béton dont ie tout nouveau KEYSTONE, un système de mur de soutènement révolutionnaire.La riche texture de béton éclaté et la forme arrondie de ces modules rappellent la beauté de la pierre naturelle.Exiger la qualité PERMACON-MONTCO, c\u2019est garantir son investissement.le choix des professionnels PERMACON MONTCO Pour connaître le dépositaire de votre région, composez: Montréal Québec Trois-Rivières Sherbrooke Lévis Châteauguay Edmundston (N.-B.) Ottawa (Ont.) (514) 351-2120 (418) 622-3333 (819) 378-2721 (819) 564-1414 (418) 837-2431 (514) 866-1623 (506) 735-3348 (613) 836-6194 "]