Présences du littéraire dans l’espace public canadien - PLEPUC Workshop 1 (2008) : Parc/Pine Intersection (Montreal)

L’ÉCHANGEUR CHANGÉ VOUS A-T-IL CHANGÉ ?

Marie-Claude Langevin — Fri, 30 Jul 2010 17:40:46 +0000

Source: Photo supplied by members of the team.

Team members:

Gorroz, Anne-Rose

Team members:

Roberge, Yannick

Team members:

Valois, Nicole

Workshop year:

2008

Location:

Crossroads of the Avenue des Pins and Parc

Description:

In literary terms, the "signified" from which the project is built is the term "interchange" of the "Avenue Des Pins interchange". The project revolves around two underlying ideas: first "The interchange has changed you changed? "And secondly, the real change:" The mountain came down to the interchange, take the green pad". The interchange came exchanger transform intersection Pins / Parc at the same time he transformed the time taken in the historical sense of the term taken to mean the speed / slowness. Indeed, transforming the interchange of des Pins, it also changes the ratio of the mountain to the city, the plant in the mineral, the modernity of the '60s to post-modernism of the 2000s, the motorist at the pedestrian. In the new interchange, the importance given to pedestrians and cyclists and slower car (traffic lights, pedestrian crossings and cycling) changing the relationship to space and time. He calls the driver whose behavior is changing. By changing this relationship with time, we feel that the mountain is lowered into the street, the pines of Avenue des Pins can reclaim their place of origin, to reoccupy the space of pavement, and cross the intersection, Now, as quietly as pedestrians. This is the poetic version of the project. The cars look pass the trees. Completion of this project is technically detailed (holographic, paintings, photographs, tracks etc ...)

In the second version, the movement is reversed: it is the trees watching the cars pass. The second proposal would involve the establishment of simple signs along Parc Avenue, from the Mount Royal Avenue to the interchange of pines. Whether the first or second version, the interchange remains a place of transition. Let us remember there is not so long that metalworker happy to return from work by tram along Parc Avenue. This allows him to live away from his work, to have a separate living environment. The spaghetti straps motorway recently had also dismantled the transition function. It is now traversing the mountain down to the heat exchanger, through this expanded space, green, smells almost the forest that is now moving from one living environment to the workplace and vice versa. Pine trees across the street or the panels on the side of the road are now involved in this transitional space. In this research, the semantics has become a slide as the topography of a mountain slides contour line to another, from its summit to its base. The words fell from the real world and their original meaning to a secondary meaning, drawing on sources of poetry and sound. The figures used styles borrow from battologie, allegory, and paronomasia polyptote. Listening ..... Listen to what is told on the site. Someone said a moment of his life, at a given time in a given place. Thus, a metalworker returns from work by tram along Parc Avenue. He is happy to finally live away from his work. The tram makes him since his arrival a workplace to a living environment. The Parc Avenue is a transit from one world to another. Interchange of the Avenue des Pins embodies this time of transition. Not so long is through a spaghetti straps highway that thousands of Montrealers transiting from downtown to their place of residence, the mountain serving as the background of this experience. The interchange without his concrete (pines do not want to eat the concrete) leaves a vacuum into which flows the mountain. Mountain slides into the exchanger.

What sense then takes the interchange?

TOPOGRAPHICAL SLIP / SEMANTICS

LA MONTAGNE DESCEND DANS LA RUE

L'ÉCHANGEUR DES PINS
NOUS SOMMES L'ÉCHANGEUR DES PINS (See Figure 1)

UN ÉCHANGEUR DE RÊVE
CONNAISSEZ-VOUS L'HISTOIRE DE L'ÉCHANGEUR ÉCHANGÉ ? (See Figure 2)

PRENONS LE TEMPS D'ÉCHANGER (See Figure 3)

PRENONS LE TEMPS DE CHANGER
ET VOUS, QU'ÉCHANGERIEZ-VOUS ?

ÉCHANGER DES PINS
POUR UN RIEN
POUR UN REIN
POUR UN SEIN
POUR UN LIEN
POUR UN TIEN
POUR UN BIEN
POUR UN PIN

N'ÉCHANGERAIS UN ÉCHANGEUR ÉCHANGÉ POUR RIEN
ÉCHANGERIEZ-VOUS L'ANGE DE L'ÉCHANGEUR ? ÉCH_ _ _ _ UR
L'ÉCHANGEUR A-T-IL CHANGÉ VOTRE TEMPS
NOUS PRENONS VOTRE TEMPS.
AIMERIEZ-VOUS ÉCHANGER VOTRE TEMPS
ÉCHANGEONS-NOTRE TEMPS CONTRE LE VÔTRE
SOUS LES PINS LES PAVÉS
ÉCHANGEONS-NOUS !
TRANSFIGUREUR

DES PINS PASSENT
CHARGEUR
ÉGORGEUR
MANGEUR
RONGEUR
MAJEUR
RAGEUR
RAVAGEUR
SONGEUR
TAPAGEUR
VOYAGEUR
OH SEIGNEUR !
LES PINS NE VEULENT PLUS MANGER LE BÉTON
ÉCHANGEUR DE RÊVES
L'ÉCHANGEUR CHANGE-T-IL VOS ÉCHANGES
L'ÉCHANGEUR CHANGÉ VOUS A T-IL CHANGÉ ? (See Figure 4)

Text:

Pines then cross the street. In their wake, eight panels challenge the motorist.

They were created from the signified "échangeur" and the words: exchange, change and time:

- NOUS SOMMES L'ÉCHANGEUR DES PINS

- CONNAISSEZ-VOUS L'HISTOIRE DE L'ÉCHANGEUR ÉCHANGÉ ?

- PRENONS LE TEMPS D'ÉCHANGER, PRENONS LE TEMPS DE CHANGER, ET VOUS QU'ÉCHANGERIEZ-VOUS, QUE CHANGERIEZ-VOUS ?

- ÉCHANGERIEZ-VOUS L'ÉCHANGEUR DES PINS POUR UN LIEN ? POUR UN BIEN ? POUR UN RIEN ? POUR UN REIN ? POUR UN SEIN ?

- ÉCHANGERIEZ-VOUS L'ANGE DE L'ÉCHANGEUR ?

- ÉCHANGERIEZ-VOUS VOTRE AUTO POUR UN ANGELOT ? UN LORIOT ? UN MULOT ? UN PAVOT ?

- L'ÉCHANGEUR CHANGÉ VOUS A-T-IL CHANGÉ ?

Dimensions

Note(s):

Yannick Roberge (architect)
Nicole Valois (landscape architect)
Anne Rose Gorroz (writer)

MOI, TOI, NOUS, VOUS

Marie-Claude Langevin — Fri, 30 Jul 2010 15:29:45 +0000

Source: Photo supplied by members of the team.

Team members:

Bérubé-Lebrun, Léandre

Team members:

Brouillette, Marc André

Team members:

Plasse, Marc-André

Workshop year:

2008

Location:

Crossroads of the Avenue des Pins and Parc

Description:

The intersection of des Pins and Parc avenues, in Montreal, is a place of transit where cross pedestrians, cyclists and motorists. Place border between downtown and the mountains, this site is characterized by a multiplicity of paths and crossings that are thousands of people daily.

In this context, the four bus shelters located at this intersection each represent an area where the expectation promotes various types of relationships between people. (See Figure 1)

The project is to reinvest these shelters by proposing that each is identified with a position exchange, that is to say a form of verbal interaction between individuals. The four positions are selected: MOI (me), TOI (you), NOUS (we) and VOUS (you) (See Figure 2). Each bus shelter is the subject of a singular design, for its volume than available seats, which represents this posture:

MOI : shelters divided into several individual cabins
TOI : shelters divided into several cabins for two people sitting next to one another (See Figure 3)
NOUS : shelters recreating the circular space of a small community that comes together
VOUS : shelters creating an interaction between a person sitting alone and facing a small group of people. (See Figure 4)

In every bus shelter, the text is located at eye level while seated (see Figure 5). It contains fragments that evoke the posture of exchange through various channels: introspection (MOI), dialogue (TOI), shared desire (NOUS) and the relationship of authority (VOUS).

Text:

MOI
Est-ce que j'ai barré la porte?
Est-ce que je dois lui dire ou non?
Est-ce que j'ai l'air de ce que je suis?
Est-ce que j'ai dit ce que je pense?
Est-ce que je vais ouvrir mon cœur?
Est-ce que je peux le faire seulement par plaisir?

TOI
Veux-tu m'accompagner?
Si tu m'écoutes, ferme ton téléphone.
Qu'est-ce que tu vois quand tu regardes en avant?
Dans ton rêve, est-ce que tu me rencontrais?
Tu me plais.

NOUS
Nous attendons que l'autobus arrive. Nous attendons que le jour finisse. Nous attendons que la lune complète sa rotation. Nous attendons de faire un signe à la personne qui nous emmènera plus loin qu'ici et aujourd'hui.

VOUS
Vous ne pouvez pas encore revenir en arrière et toujours changer d'idée. Au fond, qu'attendez-vous?
Arrêtez de nous faire languir, dites-le!

Dimensions

Note(s):

Marc-André Plasse (architect)

Leander Bérubé-Lebrun (landscape architect)

Marc André Brouillette (writer)

AU PIED DE LA LETTRE TO THE LETTER

Marie-Claude Langevin — Fri, 30 Jul 2010 15:16:36 +0000

Source: Photo supplied by members of the team.

Team members:

Beaudoin, Thierry

Team members:

Parent , Georges-Étienne

Team members:

Régimbald, Diane

Workshop year:

2008

Location:

Crossroads of the Avenue des Pins and Parc

Description:

The site of the intersection of Pins and Parc is a catalyst to place more than one respect. Frontier strong central city determined by Mount Royal, McGill University, the monument George-Etienne Cartier in the west, and the convent of the Hospitallers, their museum and Parc Jeanne-Mance and sports activities (volleyball beach, soccer, tennis, baseball) to the east, the downtown and the river to the south; neighborhoods Mile End and Outremont Parc Extension and north. It can be viewed as the zero point of the city even more than the Boulevard Saint-Laurent. It creates a zone of tension between motorists, pedestrians and cyclists, for them, rehabilitate modulated pace of the bustling city. Crossing point, rest, dreams and physical activity, it calls for a timelessness.

We focused our proposal around the movement of the body, the choreography of urban mobilities, the word body in its urban symbolic and textual. Body of the city, dancing bodies between day and night, set of letters and words, layers of words, we questioned the impact of the inclusion of text in the urban space in relation to the scope of language. Reflection on language, languages that make up the mosaic of cultures Montreal, precisely at this junction. The words up and transform the space according to the seasons and day and night.

Our project has three salary scales of the literary public sphere as a function of continuous and discontinuous movements depending on the scale of speed of movement (motorist, cyclist, pedestrian) as an urban ballet: LETTER (collective) MOT (sublime) or POETIC TEXT STORY (intimate). We are particularly interested in the playful mood, playful (cf. Homo Ludens by Johan Huizinga, which means Man the Player) and characterization sublimated space. (See Figure 1)

1. Sublime: 7 key words located right through the Parc Avenue offer made broad sense and refer instead depending on the topography, great space, history, human use, wildlife and flora. These words can be read in both French and English. These facilities are permanent.
- transition (10): bus north-east - recycled plastic blue underground - each letter serves as a shelter
- frontière (9): median median of Parc Avenue - vegetation structure
- euphoria (8): flank of Mount Royal - slate (intervention with chalk)
- contemplation (13): front wall of the Hospitallers - translucent glass - is the lighting - (See Figure 1)
- orchestration (13): flank of Mount Royal (near the bandstand relocated) - birds, squirrels, etc.. - Structure hemlock
- action (6): near the volley ball - steel structure (magnetic medium of words and making climbing) (See Figure 2)
- élévation (9): flank of Mount Royal - white marble structure that serves as a mist / fountain. (See Figure 3)

2. Collectif: The letters become a collective interaction entities created for active users (players) or passive (voyeurs). Each letter becomes a game and offered a dialogue with local human, animal or plant. Thus, integrated into the landscape, the letters become support for various recreational uses used to create other words with elements reminiscent of childhood games: "bright light" - the blackboard - word games from fridge magnets; niches for birds; bus shelter, vegetation structure and other activities that will be generated. We can not determine the sustainability of use.

3. Intime: A collection of essays uses the interstices of sidewalks and creates an intimate relationship with the keeper. Thus, this proposal is located across the private, it's lonely. The proposed texts are different levels of language: poetic, philosophical, narrative dialogue type (photo-novel) and meet or assemble the other scales as a thread. They are temporary and may give way to other texts. (See Figure 4)

Text:

Sublime : 7 large words

transition
frontière
euphoria
contemplation
orchestration
action
élévation

Intime : texts for the cracks of the sidewalks

As-tu vu le ciel ? Et les nuages ? La terre est vaste mais que dire du ciel !

J'aime marcher jusqu'au fleuve, traverser l'avenue du Parc, la rue de Bleury puis la rue Saint-Pierre, m'arrêter en chemin pour un café puis revenir ici, sur les flancs du mont Royal, avant de revenir chez moi.

D'où viens-tu ? Je suis allé sur les ailes de l'ange, la belle Renommée. Mais tu déconnes ? C'est impossible de monter si haut. C'est une blague.

Qui se cache derrière le mur de pierres ? Tu ne connais pas les Hospitalières ? Je me demande ce qu'elles font en ce moment ? Peut-être mangent-elles une soupe ? Tiens, bonne idée, je mangerais bien un petit quelque chose.

Do you know where we are ?

Oui, tout près des tamtams.

Do you know that place ?

Of course !

Partir partir s'envoler

Partir partir s'évader

L'autre jour, il paraît qu'une femme a eu un accident à vélo tout près du terrain des Hospitalières. Mon ami a vu la scène et a été troublé.

Tu ne sais plus conjuguer les lieux de nos origines

Dimensions

Note(s):

Thierry Beaudoin (architect)
Georges-Étienne Parent (landscape architect)
Diane Régimbald (writer)