ARQ, 1 avril 1997, Avril

[" LA REVUE D'ARCHITECTURE PROFILS D'ARCHI TECTES D'A U J O URD'HUI H N BLAND 96 AVRIL 1997 ni m ! mKmmmsSSEæ Place Hérelle, Longueuil \u2014 11 -rouge médium \u2014 Boudrias, Boudreau, St-Jean, architectes \u2014 Chargé de projet: Jacques St-Jean, arch.\u2014 Maçon: A.Guémard & Fils wsim.SSi Wm supermodulaire et à coins ronds ?TT BETCON Têl.[514] 651-4000 \u2022 [418] 563-8410 Fax [514] 670-2834 1-800-906-4001 College St-Maurice, St-Hyacinthe 08-Mélange Adobe Jodoin Lamarre Pratte et Associés, architectes; Maçon: Rainville St Frères inc.Blouin, Blouin et Associés, architectes Chargé de projet: Paul Fauché, arch.Centre d'acceuil Armand Lavergne, Montreal Cinq couleurs de briques utilisées Source La brique SM® vous offre une intéressante variété de formats.Sa supermodularité procure d'innombrables possibilités qui viendront stimuler votre sens de la création et de l'innovation.Qu'il s'agisse d'exécuter un mur avec motifs ou reliefs, une colonne, un socle ou encore une arche aux arêtes arrondies, la brique SM® répond aux attentes des concepteurs les plus exigeants.Elle vous permet, quelque soit le projet, de façonner un véritable joyau architectural.La brique Betcon.votre premier choix originale de créativité SOMMAIRE \t 7\tJOHN BLAND : TRADITION AND MODERNITY Irena Zantovskâ Murray 8\tTEACHING ARCHITECTURE IN THE AGE OF MODERNISM Adrian Sheppard 1 G\tA PARTNER\u2019S PERSPECTIVE Anthony Shine 12\tTHE MODERNIZING OF WEST COAST DESIGN Rhodri Windsor Liscombe 14\tCAC WEB SITE 16\tCANADIAN TOWN PLANNING : COMMON SENSE PREVAILS H.Peter Oberlander 18\tHISTORIAN Kelly Crossman 20\tLE VIEUX-QUÉBEC : UNE PAGE DE L\u2019HISTOIRE DE LA CONSERVATION ARCHITECTURALE AU CANADA Luc Noppen et Lucie K.Morisset 23\tBIBLIOGRAPHY Marilyn Bercer and Cindy Campbell 00 OJ\tMELVIN CHARNEY : PRIX PAUL-ÉMILE-BORDUAS 1996 Georges Adamczyk \t \tÉditeur: Pierre Boyer-Mercier Membres fondateurs de la revue: Pierre Boyer-Mercier, Pierre Beaupré, Jean-Louis Robillard et Jean-H.Mercier.Membres du comité de rédaction: Georges Adamczyk, Anne Cormier, Philippe Lupien, Pierre Boyer-Mercier.Production graphique: CÜPILIA DESIGN INC.Directeur artistique: Jean-H.Mercier.Représentants publicitaires (Sales Representatives) : JACQUES Lauzon et ASSOCIÉS.¦\tBureau de Montréal: 8250, boulevard Décarie, bureau 205 / Montréal, Québec /H4P 2P5.Téléphone: (514) 733-0344 / Télécopieur: (514) 342-9406.¦\tBureau de Toronto: 1-800-689-0344.ARQ bénéficie en 1997 d'un appui financier du Conseil des arts et des lettres du Québec, dans le cadre de son programme de soutien aux périodiques culturels.\tLa Revue d'architecture ARQ est distribuée à tous les membres de L'ORDRE DES ARCHITECTES DU QUÉBEC Dépôt légal: Bibliothèque nationale du Québec et Bibliothèque nationale du Canada.© Art ET ARCHITECTURE Québec: Les articles qui paraissent dans ARQ sont publiés sous la responsabilité exclusive de leurs auteurs.ISSN: 1203-1488.Envois de publications canadiennes: contrat de vente N° 0472417.ARQ est publiée six fois l'an par Art et architecture Québec, corporation à but non-lucratif.Les changements d'adresse et les demandes d'abonnement doivent être adressés à: Art ET ARCHITECTURE Québec / 1463, rue Préfontaine / Montréal, Qc / H1W 2N6 / Tél.administration (514) 523-4900, rédaction:(514) 523-7024.Abonnements au Canada (taxes comprises): 1 an (6 numéros): 41,02 $ / 68,37 $ pour les institutions et les gouvernements.Abonnements USA 1 AN: (6 numéros) 60,00 $ / AUTRES PAYS: 70,00 $.ARQ est indexée dans «Repères». 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A Québec : 1780, Route de l\u2019aéroport, Sainte-Foy (Québec], G2E 3M2, Tél.: (418) 872-3738, 1-800-463-5944 / Fax: [418] 872-2895 A Montréal : 9485, Pascal-Gagnon, Saint-Léonard (Québec), H1P 1Z4, Tél.: (514) 325-2544 / 1-800-363-9923 Centre sportif et communautaire Jean-Claude-Malépart, Montréal Rubin et Rothman associés, architectes Saia et Barbarese, architectes Centre de tennis du Parc Jarry Gauthier, Guité, Daoust, architectes Le Groupe Lestage, design urbain Provencher, Roy, architectes Les architectes Dupuis, Dubuc et associés JOHN BLAND 1.\tJohn Bland, as a young man, Montreal; Bland personal collection.2.\tThe launching of Building Canada at the Canadian Architecture Collection, McGill University with John Bland, April 2, 1996, Peter Martin photo; CAC Bland Archive.! 3.John and Fay Bland, I wedding picture, 1942; Bland personal collection.4.John Bland and his children, Ste-Anne-de-Bellevue, c.1951; Bland personal collection.WRIL 1997 sup* : TRADITION AND MODERNITY Irena Zantovskâ Murray, head, rare books and special collections, mccill university and curator, Canadian architecture collection The present issue brings together contributions from different parts of the country - Montreal, Quebec City and Vancouver - as a testimonial to the enduring legacy of the work of John Bland, architect, planner, educator, historian and heritage activist.Some of the contributions address more familiar themes - Bland\u2019s popular design and planning practice (Shine) and his equally popular role as a teacher, and a gifted administrator who had helped shape the oldest school of architecture in Quebec (Sheppard).Others venture onto a new, or little known ground - Bland\u2019s seminal role in the recognition and restoration of the built heritage of Quebec City (Noppen/Morriset), or his pervasive, albeit indirect, presence in the west coast architectural and urban development of the post-war period (Windsor Liscombe, Oberlander).His tenure as Director of the McGill School of Architecture (1941-1972) influenced successive generations of practitioners and academics who literally fanned out across the country imbued with Bland\u2019s \u2018clear, consistent purpose\u2019 - his commitment to the social focus in architecture and planning.Such purpose not only gave cohesion to the program in the School (Sheppard), but also credibility and structure to Bland\u2019s interventions in the heritage matters, and beyond (Noppen/ Morriset).A proponent of Modernism in his teaching and design, John Bland drew much of his confidence in the future from his knowledge and understanding of the past.Not only of the built past that, expressed in the regional vernacular architecture, fascinated him by its power of \u2018transplanting architecture fully formed\u2019, but also in the personal past, particularly as it was connected with the McGill School.Like his predecessor, Percy Nobbs, he fought for the belief that in the life of a teacher of architecture, a professional career could and indeed must co-exist with an academic career to maximize the benefits of both.Several contributors to this issue point to the fact that John Bland has been uncommonly able in bridging two traditions of his early education and training, that of the British Arts and Crafts Movement and of the value system, emphasized by the Architectural Association, which emphasized the architecture of social purpose.In fact, it would be fairer to say that out of this early hybrid view he and many of his students helped forge the tradition of the modern in Canada - that of simpler, bolder design, of common sense planning, but also that of the recognition of the shared inherited past, its documentation and interpretation.As Guy Desbarats remarked in an earlier contribution honouring John Bland\u2019s eightieth birthday: \u201cJohn Bland .possessed a rare personal ability to relate architectural history to the everyday sights - domestic, religious, commercial or even industrial.By linking them to studio projects, he gave relevance and power to historical precedents.He awakened generation after generation of students to the value of a tangible, local and varied heritage of architectural forms.Beyond his own span of actions and span of time, he will be influential.through the generations of his students.He sensitized them in a free and unburdened way to the relevance of history in the design of their contemporary works.\u201d John Bland\u2019s holistic approach has embraced every aspect of his rich and long career: long after his retirement as a teacher, new students and researchers seek him out in his home in Ste-Anne-de-Bellevue.More than sixty architectural archives he helped preserve in the Canadian Architecture Collection at McGill serve scholars across the country and his remarkable collection of images of Canadian architecture has recently served as the basis for Building Canada, a modular Web site used by secondary schools to learn the rudiments of Canadian architectural history.His contribution to the heritage agenda was recognized when he received the 1994 Heritage Canada Gabrielle-Léger Award and his own buildings continue to hold their own at the turn of the century.Having recently celebrated his eighty fifth birthday, John Bland remains an active presence as his protean career of some sixty years continues to bear fruit in all its many ramifications.The synthesis of his contribution is yet to come, but then, his own contributions still keep coming.For John Bland\u2019s biography and projects please consult: ARQ August 1996 issue, and John Bland at Eighty: A Tribute (eds\u201e Irena Murray and Norbert Schoe-nauer), Montreal: McGill University, 1991, respectively.I would especially like to thank Daniella Rohan, CAC Associate, for her invaluable assistance in assembling and editing the material for this issue.7 TEACHING ARCHITECTURE IN THE AGE OF MODERNISM Adrian Sheppard Architecture, in the early days of Modernism, was perceived as being a social art to which definite ethical and professional responsibilities were attached.Serious architecture could not circumvent its societal obligations.Bringing to students an acute awareness of the moral and social purpose of architecture is John Bland\u2019s primary legacy to the McGill School of Architecture.Like Gropius, whom he greatly admired, Bland became a notable teacher not on account of a special methodology or pedagogy, but because he had a clear, consistent purpose.To study architecture at McGill in the late fifties was an exciting and inspiring experience.It meant sharing in a commitment to a movement that was barely out of its pioneering infancy.The logic and the rhetoric of Modernism was so persuasive that we hardly felt the need to question the Movement.Because of Modernism\u2019s universal and unitary views, other ideologies were easily discarded.Modernism\u2019s mission: a yearning for the renunciation of the old world, a commitment to mass housing, and a heroic vision for the future made the movement akin to a crusade for a new order.Optimism was boundless, but so too were an arrogance and a misplaced sense of piety.Everything appeared feasible.No megastructure was too large or too bold, few forms were proscribed, and most of what did not fit the accepted ideological mould was readily rejected.With the benefit of forty years of hindsight, it is clear that the fifties was concurrently a period of rationalism and romanticism.Despite the orthodoxy that was rooted in logic and positivism, it was a period of freedom in which originality was celebrated over rules, values were celebrated over causes, free expression over fixed behaviour, and prototype over paradigm.Architecture\u2019s reductivist view rejected the use of precedent.The aesthetic mantra of the time, Less is more, led to an inevitable over-simplification of form and content and to the reduction of architecture to tectonic abstractions.That disaster did not strike our School and that our training was ultimately sound is attributable to a great extent to the teaching of a value system which emphasized the social purpose and accountability of our métier.Social purpose gave the program cohesion, clarified our ideals, and motivated us to link purpose and human needs to aesthetic canons.We profoundly believed that architecture is for people and that buildings must speak of their social function.John Bland came to the School in 1938 after having studied architecture under Ramsay Traquair at McGill in the early thirties, and later as a graduate student at the Architectural Association School of Planning in London.He was a product of the intensely British Arts and Crafts tradition that was prevalent at McGill, and of the AA\u2019s emphasis on the social concerns of architecture and planning.Bland\u2019s training, consequently, bridged two traditions, two continents, two periods of architectural history.His understanding of architecture and the strength of his convictions sprang from these dualities.His concern for meticulous design and construction came from the Arts and Crafts legacy and his commitment to the social mission of architecture from the AA.John Bland was, by virtue of training and his place in time, a transitional figure in the history of teaching of architecture in Canada.Since he understood the old rules, he could re-interpret them and apply them in a modern way, he could abstract the best of two worlds and he could erase the frontiers between two eras.It was because of this rich mix that Bland was able to successfully transform a British-inspired Arts and Crafts School into the modem school of architecture that we came to know.The strength of the School was perceived by many as deriving from the heterogeneity of its faculty, but there was, in fact, a homogeneity of ideology.Bland had indeed assembled a varied circle of architects from Europe and Canada who came to the School with very different backgrounds and from different cultures.Teachers at the School had the freedom to run their design studios as they wished.Inevitably, each studio bore the personality of its instructor.Divergence in personality, however, did not mean divergence in ideology.Though no formal doctrine was proclaimed, the School followed an overriding orthodoxy.Architecture was taught as a reasoned discipline at the service of society.The opinions of Mies and Gropius hovered over us always.Mies\u2019 rationalism, his sensibilities, technical mastery and extraordinary aesthetic elegance embodied for us the very essence of the new architecture.Gropius, on the other hand, inspired us not so much by his architecture (which, except for the Bauhaus School, we, as students, found uninspiring) but through his teachings on the newly-defined profession and on the mission of architecture.Gropius spoke of professional responsibility, of an architecture rooted in purpose and program, of technology and rationalism in a way that no architect had done before.He was the philosophical mentor of our School.1.\tJohn Bland as a student II i'll in front of the Macdonald p II® Engineering Building, McGill University, second Ri row, second from the left; rf McGill School of Architecture collection.2.\tLeft to right: Prof.John j Bland, Hon.Pres.; Ted Baker, Assistant Treasurer and Librarian; ; Alvaro Ortega, President; m Ray Affleck, Reporter; Sheila Baillie, Treasurer; Rolf Duschenes, Secretary; Jacques David, Vice-President; McGill School of Architecture collection.ARQ, LA REVUE D'ARCHITECTURE|| 8 lill w i>( 3- lacdonêU fog, I second Tithed m itt* s;W t Librarian; Presidrt reaaiw The McGill staff, early 1970s.Back row: Bruce Anderson, Pieter Sijpkes, Stuart Wilson, Witold Rybczynski.Seated: Peter Collins, Derek Drummond, John Bland, Radoslav Zuk; McGill School of Architecture collection.quS i 0* Our firmament of architectural stars also included Aalto, Wright, LeCorbusier, Dudok, Perret and Sullivan as well as the engineers Nervi, Fressinet, Maillait.Aalto and Wright, the two great Romantics, were admired, even loved but, inexplicably, we never emulated their work nor did we fully assimilate their vision.LeCorbusier was acknowledged as the father figure, the grand old man of the Movement.He was, for us, the ultimate creative genius, the most mystical of the pioneer form-givers of Modernism.Though Bland admired LeCorbusier, his true allegiance, we felt, was to Mies.Perhaps it was an uneasiness with the French wing of Modernism.For whatever reason, the English, Dutch, German and Scandinavian schools were closer to McGill\u2019s heart and way of thinking.John Bland urged us to read.He made continual references to books which became our constant companions.We read Gideon, Witkower, Summerson, Pevsner and Richards.We devoured LeCorbusier (especially Vers une architecture), and Gropius\u2019 New Architecture and the Bauhaus.Space, Time and Architecture was the text that gave us the most satisfying definition of the Modern Movement.Summerson\u2019s Heavenly Mansions (and especially his essays on LeCorbusier) introduced us to a new, non-dogmatic interpretation of architecture.James Fitch\u2019s American Buildings and Pevsner\u2019s An Outline of European Architecture were our basic reference guides to American and European architecture.Gaunt\u2019s elegantly written The Aesthetic Adventure initiated us to Art Nouveau, which we loved, but grudgingly, for this knotted and \u2018slightly deviant\u2019 art contradicted all that was morally right and aesthetically beautiful.Wright appealed to our romantic impulse.His books were loud manifestos written in a passionate mode.Bland encouraged us to read Architectural Principles in the Age of Humanism, Frederick Gibbert\u2019s Town Design and Ruskin\u2019s The Seven Lamps of Architecture.Our primary historical reference tome was Sir Banister Fletcher\u2019s A History of Architecture, though we were soon to learn of its flagrant omissions.Many of the significant buildings we studied in Bland\u2019s History and Theory course are still considered icons of Modernism today, but some have lost their status as exemplars of modern architecture.For example, the UN Plaza, LeCorbusier\u2019s League of Nations, Mies\u2019s Commons Building at HT and Perret\u2019s apartment building on Rue Franklin Roosevelt are considered as seminal today as then.However, the UNESCO Headquarters in Paris, Harrison and Abramovitch\u2019s three small chapels at Brandeis College and SOM\u2019s Air Force Academy near Denver are amongst the buildings which no longer have a place in our architectural references.There are always lacunae in education.Our aesthetic sensibilities were unduly based on an orthodoxy rather than on a broad appreciation of architecture and its past.We were unable to value Victorian or eclectic architecture for its own sake.Perhaps the 19th century was too close for comfort.If we accepted any works of pre-modem masters, we did so more on ideological than on aesthetic grounds.What we deemed of merit was either very old or very new.We naively believed that contemporary architecture was a manner of building with a sense and sensitivity which owed little to the past.Historicity could only hamper objectivity and logic in the design process.To reflect on the past is to reflect on the present and to question Academe today.Architecture has abandoned its early heroic commitment to society.Formalism, Aestheticism, Historicism and Eclecticism which we rejected then in favour of a new rationalism are back with a vengeance.Modernism has been supplanted by Neo-Modernism, the latest of many stylistic pastimes.In a world where problems have become more complex, society more democratic and heterogeneous, morality more circumstantial, and pessimism more prevalent, questions arise: to what degree is it still feasible and relevant to persevere along the path established in the late forties and fifties?Is an architecture of social purpose congruent with global capitalism, bureaucratic thinking and ever-changing values?We, who trained in the fifties with John Bland, recognized in him the moral and professional conscience of the modern School at McGill which he had built and led.He made us feel part of a dedicated and socially committed environment in which rigorous training and professional excellence were the quintessence of our existence.He made us feel that architecture could change the world, that architecture mattered.John Bland\u2019s School reflected the Zeitgeist and embodied his personal values.He brought a new expression of purpose in architecture, a faith in the architect\u2019s problem-solving ability, a vision of collective work and common good, a rejection of self-indulgence and aestheticism, a belief in the social and functional basis of form, a hope in internationalism and a liberalism.These were his concerns and his commitment.By the time we finished school they had become our concerns and our commitment.NOTE Adrian Sheppard, B.Arch.\u201959, FRAIC, is an Associate Professor of Architecture at McGill University. A PARTNER\u2019S 2 1.\t2290 St-Mathieu Office, 1958: Kazimierz Grzegorek, Tony shine, Victor Virak, Jean-Louis Lalonde, Gordon Edwards; Tony Shine collection.2.\t2290 St-Mathieu Office, 1958: Jean-Louis Lalonde, Victor Virak, Roy LeMoyne, Tony Shine (Harvey Wolfe in the background); Tony Shine collection.3.\tBland/LeMoyne/Edwards: Fathers of Confederation [Memorial Building], Charlottetown, Prince Edward Island, 1962, Interior perspective; CAC Bland Archive.4.\tBland/LeMoyne/ Edwards/Shine: Expo \u201967 Labyrinth, National Film Board, Mackay Pier, Port of Old Montreal, 1964-67; plan; Tony Shine collection.5.\tBland/LeMoyne/ Edwards/Shine: Expo '67 Labyrinth, National Film Board, Mackay Pier, Port of Old Montreal, 1964-67; Tony Shine collection.PERSPECTIVE Anthony Shine Over the years a number of friends and admirers have written about Professor John Bland, the teacher and mentor to many of us who were nurtured in the McGill School of Architecture.Some have described his work as an historian and guardian of Quebec\u2019s architectural heritage.Others have recorded his work as a town planner.An assortment of articles have even expanded at length about some of the projects that were executed by successive partnerships over the years.John Bland, as a teacher, always believed that a professional practice had to co-exist with an academic career.As the Director of the School of Architecture at McGill, he managed to undertake a limited number of commissions that could be fitted into his schedule but he always surrounded himself with part-time faculty who were full-time practitioners.That was until the mid 1950s when the opportunity to join Vincent Rother and Charles Elliott Trudeau set the stage for a succession of partnerships that carried on until the 1980s and survives still today, albeit without John Bland.The nature and character of the Rother/Bland/ Trudeau partnership set the tone for a truly remarkable story.In 1955, Montreal was still the premier Canadian city, and modern architecture had arrived.Here was a magical blend of ethnic backgrounds, choosing to forge an alliance to pursue decent and honourable work.In short order Rother/Bland/ Trudeau became a name firm.Already some of the best and brightest of the new crop of architects had done a stint with Vincent Rother and for the next twenty-five years a steady flow paraded through the drafting room.The common thread of continuity was John Bland.It was as though a torch or a mantle had been passed on that had to be kept intact.With the early death of Vincent Rother in 1959 and the decision to retire by Charles Trudeau in 1960, a new role evolved for John Bland.He became the senior partner and with each successive permutation of the coalition of principals and associates, it became a pattern to have younger architects as partners at ten-year age intervals in a benign plan to keep the firm alive and active.John Bland, the tutor at school, became the mentor in the office.The majority of us had been students at McGill and inevitably the atmosphere of the office took on a studio-like character.JB, as we called him mostly, would come over and make the rounds and give us a \u2018crit\u2019, always with the enthusiasm that we had a real project in the works with a paying client.Those were the days when JB also took on the role of pitch man, which we knew he hated like the plague.With the conviction that the survival of the firm was important to us and that we had something to offer to the community, JB went to bat for us and made the contacts that kept us going.For a modest and, at times, shy person, this was the supreme act of bravery.It must have been worth it because over the years the roster of clients grew and the practice became secure in its ability to produce \u2018bespoke\u2019 architecture, which could pride itself as being good, sound, unpretentious and pleasing in a genteel manner.After all, one of Professor Bland guiding principles in school had been \u2018architectural good manners\u2019, where buildings were good neighbours to each other.This was the mantra of our youth and it stayed with us because JB stayed with us.It was a gentleman\u2019s approach to society and this had been the culture that seemed to flow from JB\u2019s background through to the Montreal of those years, into the McGill School of Architecture and then to the office.In order to maintain this symbiosis of the firm being accessible to JB, there was a magical geography that bound the office to the school.It was always understood that the office premises had to be within easy walking distance from the school.For twenty-five years or so of the partnership, the office was always located either on or off Sherbrooke Street, always in familiar territory.For years JB could be spotted wearing a beret and a bright red scarf over his raglan tweed overcoat striding along Sherbrooke between his two downtown worlds.His vigour seemed to suggest that he enjoyed it immensely.And as part of the same comfort zone, JB\u2019s station in the office remained a constant in an open cubicle space.This was sort of a trademark in the office.The ambiance was open and separations were for furniture.No computers and Autocad.Everything by hand and lots of ink and pencil.It was a given in the office that JB was the town planner.He had developed a reputation in this field in the 1940s and 1950s and a number of jobs came to be undertaken by the firm in the 1950s and 1960s.These were projects like new towns, university campus layouts, zoning plans and bylaws and urban renewal schemes.For these, JB would get onto the drawing board and with a fine draftsman\u2019s hand, he would sketch and draw up the beginnings of schemes that would be developed and re-worked in the grand old style of tracing over tracing over tracing.Those were happy times and very special because of the shear delight in exploring the extra dimension to architecture which was JB\u2019s interest in civic design and hence, town planning.Of all the projects that the firm airpmiüBpBn] rtrfmniTmMM wonf I Hli! Hltminini'iSa MEiafeeàwte \t\t [Hliljlii l!|IV\" ' jiiiiriiiiii'l^ (KKKragCI 1Ü ARQ, LA REVUE D'ARCHITECTURE h i l i l l i h il .¦' was involved in over the years, without a doubt it was the ones that set buildings into a context of harmony and delight that brought out the best in John Bland.In a strange twist of events, the fact that the firm had a solid footing in both architecture and planning opened up the door to a new role in project management, along side of engineers and construction personnel.This was a different kind of consultancy role for JB and he played a key role in helping to blend all the disciplines into a working team.Those were the days of CAIM, Consultants en aéroports internationaux de Montréal, when the firm was engaged in the planning and design of airports and Olympic installations.One of the most rewarding features of the practice which included John Bland on its masthead, was that it was truly contemporary with its times and, maybe more significantly, it is among a select few that participated in events that cover the history of the period.New towns in the north were designed for Port Cartier, Lebel-sur-Quévillon and Twin Falls.University campuses were expanded for McGill, Windsor, Acadia and Carleton.Research laboratory centres were designed for Northern Electric, Smith Kline & French, and McGill at Mont St-Hilaire.University buildings included the library of Windsor University, the McGill Law Faculty\u2019s Chancellor Day Hall, and the Pollack Concert Hall.Jarry Metro Station was designed for the new Montreal subway system.For Expo \u201867, there were the National Film Board Labyrinth Pavilion and John Bland\u2019s Boy Scout Pavilion, along with his consultancy role in the Museum and the associate role that the firm played in the design of the British Pavilion.Urban renewal schemes were developed for Greene Avenue and Westmount Square (before Mies was brought in) and La CoUine Parlementaire in Quebec.An embassy in Accra, Ghana, and an ambassador\u2019s residence in Dakar, Senegal, were designed for the Government of Canada.In a curious dose of architectural anthropology, the name of the firm that started as Rother/Bland/ Trudeau went through several metamorphoses between 1957 and 1982, which were my years of attachment.After Rother/Bland/Trudeau, it became Bland/LeMoyne/Edwards, which begat Bland/ LeMoyne/Edwards/Shine which begat Bland/ LeMoyne/Shme which begat Bland/LeMoyne/Shine/ Lacroix.Also, an association was made between Bland/LeMoyne/Shine and Victor Prus who formed a consortium with SNC and BBL to CAIM.Then, in the grand chain of events, the firm morphed into LeMoyne et Associés, with a chapter known as PLLL, concocted for the Palais des Congrès, made up of the firms of Prus, LeMoyne, Lalonde and Labelle.JB retired from 8.18 g.the firm at around that time and the team became LeMoyne/Lapointe/Magne who carried on with an old legacy and an infusion of new talent.Just in case some of the alumni care to bear witness, these are remembered as all having shared many of these memories with and of JB in the firm: Jean-Louis Lalonde, Stig Harvor, Louis Balogh, René Menkes, René Welter, Victor Virak, Roméo Savoie, Kazimierz Grzegorek, Ann Marie Balazs, Harvey Wolfe, Radoslav Zuk, Harry Vandelman, Hubert Chamberland, Mounir Kerba, Brian Klopper, Michel Barcello, Audrey LeMaistre, Ron Matthews, Gerald Sheff, Earl Murphy, Phil Gooch, Roger Desmarais, Bruce Anderson, Thomas Bégin, Michael Fieldman, Alex Kowaluk, Gilles Letourneau, Dick Tobin, Peter Haley, André Caron, Norm Globerman, Frank McMahon, Monique Quesnel, Maria Calderisi, Francine Vézina, Murielle Forcier and Gustave Lavoie.Along with my partners of the past, Roy LeMoyne, Gordon Edwards and Michel Lacroix, we all salute you, JB.NOTE An architect and a planner, Anthony Shine is currently working in private practice, Anthony Shine Consultants.Bland/LeMoyne/ Edwards/Shine: Law Building, McGill University, 1963-64, View from Dr.Penfield looking north; Tony Shine collection.Bland/LeMoyne/ Edwards/Shine: Northern Electric Co.Ltd.Research and Development Laboratories, Ottawa, Ontario, 1964; Tony Shine collection.Bland/LeMoyne/Edwards: Smith, Kline and French Pharmaceutical Centre -Research Laboratory, Senneville, Quebec, 1964; Tony Shine collection.Bland/LeMoyne/Edwards: Smith, Kline and French Pharmaceutical Centre -Research Laboratory, Senneville, Quebec, 1964, Master plan; Tony Shine collection.10.\tBland/LeMoyne/ Edwards/Shine: Law Building, McGill University, 1963-64, Model; Tony Shine collection.11.\tBland/LeMoyne/Shine/ Lacroix: Library Extension, University of Windsor, Windsor, Ontario, 1970; Tony Shine collection.12.\tBland/LeMoyne/Shine: University of Windsor Campus, Windsor Ontario, 1970; Tony Shine collection.18.Unit Masonry Awards Program, Design Canada, 1972.Winners of Awards of Excellence for the Library Extension, University of Windsor, Windsor, Ontario: John Bland, Roy E.LeMoyne, Anthony J.Shine, Michel Lacroix, Earl B.Murphy, Thomas-E.Bégin; Tony Shine collection.13 - WRIL 1997 3401 ¦ m W: THE MODERNIZING OF WEST COAST DESIGN Rhodri Windsor Liscombe The influence John Bland exerted on the emergence of a distinctive Modernist architectural culture and design in the West Coast is as significant yet indirect: indirect because Bland neither spent any considerable time in its centre, Vancouver, nor became involved in specific modernizing policy.Yet he acted as a benign version of those other Montreal-based or central Canadian institutions that, like the CPR or McGill University, modelled the socioeconomic and cultural fabric of the provinces.In architecture, the potency of central Canadian practice would actually only impact from the late 1950s -\twell after Bland had projected his enthusiasm for the Modernist agenda, westward through the migration of former junior colleagues and students.Consequently, this estimate of John Bland\u2019s influence will derive from the cumulative contributions to Vancouver Modernism of those he encouraged and the values he inculcated.It will privilege what might be termed the cultural narrative and will concentrate on the period 1945-1965; from the broad acceptance of Modernist aesthetic and planning of the Reconstruction era, to the onset of cynicism as its ethos became subsumed by Consumerists and corporate objectives - and in Vancouver, the completion of Simon Fraser University to designs by Bland\u2019s erstwhile pupil Arthur Erickson in partnership with Geoffrey Massey and in cooperation with at least one other former student, Duncan McNab.Erickson and McNab, among a bevy of other McGill alumni had already created a distinctive regional genus of Modernism - especially in domestic design -\tbut Simon Fraser heralded a more self-consciously inventive phase of West Coast Modernism.This change eventuated partly in response to growing anxiety about the degradation of Modernist values Bland had helped articulate.In 1960, he persuaded the Journal of the Royal Architectural Institute of Canada to publish a series of articles and illustrative polemics by McGill architecture students disappointed with Paul Rudolph\u2019s appearance in their midst.Their often astute and melancholic diagnosis of the conventionalisation of Modernism by materialism reiterated the warnings of impending \u2018urbanicide\u2019 at Vancouver voiced in Project 58, the pamphlet on participatory planning written by a group including Erickson and another Bland protégé, H.Peter Oberlander, plus the redoubtable Wells Coates.Bland\u2019s own earlier exposure to Coates and to the other émigré Modernists in London while attending the Architectural Association had, in 1939, fitted him to carry the McGill School of Architecture through an earlier, deeper pedagogical crisis.He was hired by Cyril James - newly appointed Chancellor of McGill, to replace the enfeebled Academic-cum-Arts and Crafts curriculum with one that introduced Modernist concept and practice.Bland quickly won the respect of the small, disgruntled but talented, ros- ter of students, three of whom would become leaders of the postwar Vancouver profession - McNab, John C.H.Porter and the pioneering Catherine [Chard] Wisnicki, McGill\u2019s first woman graduate in architecture.There is another dimension to this western legacy of Bland\u2019s dynamic teaching which should be considered at this juncture.Part of his enthusiasm for Modernism was its recovery of the courage to innovate and to rethink every aspect of design from typical conventions to structural material.Consequently he welcomed the expertise of those young designers who had, like himself, studied or worked in the European and British centre or offices of Modernism.One such design was Frederic Lasserre, the Swiss-born but University of Toronto trained architect who had worked at TECTON when Bland was still in London.Another was the Canadian, Hazen Sise who had travelled to France in order to work with LeCorbusier.Both Lasserre and Sise had assisted in the organization of the 1938 MARS (Modern Architecture Research) Group exhibition in London, under the direction of Wells Coates.Each would be brought onto the McGill faculty by Bland - Lasserre but briefly, before being appointed inaugural Head of the Department [later School] of Architecture at the University of British Columbia in 1946.Lasserre would emulate the curriculum Bland had already established, synthesizing Bauhaus artistic and analytical reductionism with Corbusian poetic abstract formalism, modulated by the organic and craft sensibility of Wright and Aalto, and initially, to a much lesser extent, by the intellectualised structuralism of Mies.Lasserre also introduced courses on sociology and community planning (including lectures by Leonard Marsh, another émigré from McGill to UBC, who had compiled the Federal Advisory Committee Report on Reconstruction [IV], 1944).He introduced architectural history, sharing Bland\u2019s view that when divorced from mere stylism and derived from genuine vernacular, it offered significant lessons in design.The sense of place - of topography, climate and culture - Lasserre shared with Bland and it was articulated in the objectives he set for the UBC Department: the creation of a regional Modernist idiom that would carry good design to the widest spectrum of society.Another of Bland\u2019s colleagues, Douglas Shadbolt, would direct the UBC architectural school through the late 1970s and mid 1980s, strengthening its prestige.The network of Modernism Bland signally helped to weave across Canada included a highly talented cadre of émigrés from Nazi Germany and Austria, resettled, supposedly temporarily, in Quebec.Their number included Rolf Duchenes and Wolfgang Gerson, who collaborated with Lasserre on the earliest Modernist Church in Canada, and St.Cuthbert\u2019s Anglican in the Town of Mount Royal (1945-46).Its John Bland, Director of the School of Architecture, McGill University, early 1970s; McGill School of Architecture collection. 2 uncompromising geometrical massing demonstrated the liturgically radical central plan church interior and matched the brick utilitarianism of recent Anglo-Dutch architecture.Equally novel, and more directly anticipatory of the wood frame and sheathed site was Gerson\u2019s house for Hugo Simon at St.Rose in the west end of Montreal island - a frequent place of pilgrimage for McGill students following its completion in 1943.Gerson would be enticed to Manitoba in 1947 by John Russell, and eventually to UBC in 1953 by Lasserre.Gerson was not only a notable teacher, but responsible for a series of successively visually subtle interpretations of Modernist functionalism in domestic and ecclesiastical work, culminating in his own three-level house on Sentinel Hill, West Vancouver (1958-59), and the Unitarian Church on Oak Street (1959-62).A third émigré was H.Peter Oberlander, who completed his training at McGill before studying under Gropius at the Harvard Graduate School of Design and being recruited by Lasserre in 1951.He brought to Vancouver his wife, Cornelia Oberlander, who would become the outstanding Canadian landscape architect of the postwar era.Oberlander emulated Bland\u2019s 1944 conference on Community Planning at McGill by teaching an enlightened version of CIAM, British and Scandinavian theory at UBC, eventually establishing departments of community planing and human settlements.Thus Oberlander helped to sustain the momentum for urban renewal in the decrepit east end Strathcona district of Vancouver.This had been forged in the 1945 New Community schemes exhibited by the Art in Living Group under the leadership of Fred Amess and B.C.Binning, and reinforced by the UBC-funded Marsh redevelopment plan published in 1950.The next year, with Lasserre, Oberlander endeavoured to augment the community facilities projected for the Alcan townsite at Kitimat in northern BC, so as to correspond with the best of the British New Towns he had worked on briefly in 1950.By the centennial of the province of BC, Oberlander, in company with Erickson, Massey, E.J.Watkins and Coates, argued in vain, for public participatory planning to redress the disempowerment of the citizen by the onset of large-scale real estate development and absence of effective civic planning.Again Bland had already contributed to the potential alleviation of this deficiency.In 1950-51 he had compiled a report with his friend and colleague, Harold Spence-Sales.This had resulted in the establishment of a municipal planning department in 1956 to oversee development and conservation.The local preoccupation with private property development and rightist provincial government conspired against their more liberal vision.The existence of the City Planning Department did enable the implementation of a much diminished redevelopment in the east end.Instead of the surgical reconstruction envisaged by the Art in Living Group and Leonard Marsh, the provision of extensive, new low-cost housing (new homes for large families, maisonnettes and apartments) was concentrated in three smaller projects effected through CMHC funding and expertise.The first two were the McLean Park \u2018superblock\u2019 and Skeena Terrace housing (1959-63), each with a remarkable variety of scale and spaces forming fine landscaping by Cornelia Oberlander.The third was the more densely compact Raymur Place (1962-64), by Duncan McNab.McNab, it should be noted, had realized Bland\u2019s ideal of socially responsible architecture in plain but well-planned veterans housing constructed shortly after he demobilized from the RCAF at Vancouver in 1946.An important inspiration for the dense yet pleasant environment of Raymur Place was McNab\u2019s visit to the recently opened Jeanne Mance complex in Montreal for which Bland (with his partners Vincent Rother and Charles Trudeau) acted as architectural and planning consultant.Almost two decades earlier, in 1949, McNab had sought to effect the reforms in applied design Bland pursued through the foundation of such national advocacy organizations as the Design Council.McNab mounted the Design for Living exhibition at the Vancouver Art Gallery in concert with Chard Wisnicki and Porter, Pratt and E.R.Pratt with R.A.D.Berwick, and Peter Thornton, whom Bland had met in prewar London and who built the earliest Modernist west coast house in Caulfield, West Vancouver (1938-39).The Design for Living exhibition presented a series of prototype reasonably-priced middle class houses, informed by psychological and ergonomic no less than by aesthetic considerations.The renderings of the houses and mock-up of their living rooms, encapsulated humanistic but non-elitist values shared with Bland, and especially the ideal of widely accessible, intelligent housing - the matrix for the compound growth of the southeast and north shore suburbs of Vancouver.Bland\u2019s promotion of West Canadian Modernism a like continued through the high proportion of awards to Vancouver region buildings when he chaired the 1955 Massey medal selection committee.That year, too, a group of colleagues and graduating students from McGill won the national competition for the Civic Auditorium at Vancouver, organized by its leading proponent Lasserre.Affleck, Desbarats, Dima-kopoulos, Lebensold, Michaud and Sise devised a graceful Modernist complex, reminiscent of the architecture at the 1951 Festival of Britain in London.That inaugurated the refurbishment of the inner section of the city, recently extended by the erection of the new Vancouver Public Library and Federal Office Building by yet another former student, Moshe Safdie (with Downs Archambault).The main part of the Auditorium was opened in 1960 as the Queen Elizabeth Theatre and recognized by the architectural educator and writer Abraham Rogatnick as marking the cultural maturity of Vancouver.Within three years the dynamism of the west coast architectural culture Bland helped foster was confirmed by the Simon Fraser University competition through the commissioning of Erickson and Massey\u2019s highly novel concept.The interplay of structure and setting, program and effect, spaces and ambiance achieved by Erickson and Massey epitomizes the kind of imaginative empiricism championed by John Bland.NOTE Rhodri Windsor Liscombe, is Professor of the Department of Fine Arts, University of British Colombia, Vancouver.He is also Vice-President of the Society for the Study of Architecture in Canada and a Fellow of the Society of Antiquarians.He met John Bland while teaching in the Department of Art History at McGill in 1974-76.2.\tErickson and Massey: Simon Fraser University, Burnaby, British Colombia, 1963-65, Exterior view; CAC Bland Archive.3.\tErickson and Massey: Simon Fraser University, Burnaby, British Colombia, 1963-65, Exterior view; CAC Bland Archive.4.\tErickson and Massey: Simon Fraser University, Burnaby, British Colombia, 1963-65, Interior view; CAC Bland Archive.5.\tAffleck, Desbarats, Dimakopoulos, Lebensold, Michaud and Sise: Queen Elizabeth Theatre, Civic Auditorium, Vancouver, British Columbia, 1955; CAC Bland Archive.5 13 CAC WEB SITE 1.\tThe Bland Archive 2.\tBuilding Canada 5Ü Netscape - [The Bland Archive] File Edit View Go Bookmarks Options Directory Window Help Location: |http7/'cac.mcgiil.ca/lcac/bland/building/ The Bland Archive 'x f* j ¦ TV7*> JOHN BLAND, B.Arch.McGill 1933; Diploma in Planning, the Architectural Association, London, 1937; Dr.Sc.(honoris causa) Carleton University, 1975; Professor of Architecture Emeritus, McGill, 1979.Bom in Lachine, Quebec in 1911, John Bland studied architecture at McGill University where he received a B.Arch.in 1933 and planning in London at the Architectural Association School, earning a Diploma in Planning in 1937.Upon graduation, Bland worked in London for the Planning Department of the London County Council and in 1938 he travelled throughout Europe.In partnership with Harold Spence-Sales, Bland designed a number of commercial and public buildings in England as well as prepared planning reports.Bland returned to Canada in the late 1930s and began his long association with the School of Architecture at McGill University: he served as Director of the School of Architecture from 1941-1972 and became Emeritus Professor of Architecture in 1979.During this time he was also actively involved in the design of numerous architectural and claiming oroiects in oartnershio with Vincent Rother.Charles Elliott Trudeau, Rov E.LeMovne.Gordon Edwards, Michel Lacroix and Anthony Shine.The holdings of the CAC reflect Bland's dual career as educator and architect.John Bland was responsible for assembling the materials which now form the archives of the CAC.There are 71 projects from the John Bland Archive that consist of drawings, photographs, and reports.Other literary material, such as his publications, lectures, and unpublished papers, offer insight into the plethora of subjects that captivated Professor Bland's interest.The archive is rounded out with articles by others on John Bland and his work, as well as his personal collection of slides, maps, and books.: \u2022\tÜH H nsi\t\t1; ,1 ''Vi ** Building Canada \t\tfflffii m\t \u2022\t1\t\tAbout John Bland '¦! v \u2022 I\t\t\tl ôfjj ' The John Bland Archive \t\t\t1- \u2022\t* -u- ulL\t\t;V.: V V ' Publication .y.,.,.,,.,.,,. mm contributors jSLhft >*' v?' : .- .^:4 e x c e 'n c e Brick va de I ' a v a n L'Titon bric ISO 9002 BRA OUS OFFRE avec des méthodes et des nouveaux innovateurs.BRAMPTON BRICK Acredited by the Standard Council of Canada En plus de posséder l'une des usines les plus avancées sur le plan technologique dans le monde entier, Brampton Brick est le premier fabricant canadien de briques de glaise avec un enregistrement ISO 9002 à tous les niveaux de l'entreprise.Brampton Brick représente le modèle à suivre de l'industrie pour sa qualité et ses standards 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