QUARTERSCULTURAL

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

Direction de la culture et du patrimoineSEPTEMBER 2011

CONTENTS

FOREWORD by Helen Fotopulos 4

1. INTRODUCTION 6

1.1 A Propitious Environment 7

1.2 Approach 7

1.3 Outlook 8

2. MONTRÉAL’S POLITICAL AND ADMINISTRATIVE FRAMEWORK 10

2.1 General Presentation 11

2.2 Local Authorities and Decision-Making Bodies 11

2.3 Sharing Local Responsibilities and Cultural Quarters 12

3. BACKGROUND 14

3.1 Cultural Poles 15

3.2 From Cultural Pole to Cultural Quarter 15

4. STUDY 18

4.1 The Cultural Quarter Concept: From Theory to Practice 19

4.2 Public Policies 23

4.3 Identifying Cultural Quarters 30

4.4 The Cultural Quarter Concept for Montréal 35

4.5 Needs and Expectations 35

5. AREAS FOR FURTHER STUDY 38

5.1 Local Cultural Activities 39

5.2 Event Promotion and Organization 39

5.3 Planning Programs and Transportation 41

5.4 Capital Investments 43

5.5 Management and Coordination 44

6. CONCLUSION 46

7. BIBLIOGRAPHY AND APPENDIX 48

Bibliography 49

Appendix 50

4

FOREWORD

5

Since it came to office in November 2011 and especially after the June 2002 Montréal Summit, our

administration has been acquiring tools to make culture a core component of citywide development.

These tools include the Cultural Development Policy, the Heritage Policy, the 2007-2017

Montréal Cultural Metropolis Action Plan, an assessment of Montréal’s public library system (Diag-

nostic sur le Réseau des bibliothèques publiques de Montréal), the designation “Montréal, UNESCO

City of Design,” an assessment of the réseau Accès culture and the 2010-2014 Action Plan (Diagnos-

tic sur le réseau Accès culture and the Plan d’action 2010-2014) and the Public Art Policy.

With the eagerly awaited this fall of the Adresse symphonique concert hall and the Mon-

treal Museum of Fine Arts’ Claire and Marc Bourgie Pavilion, this is an excellent time to:

Note that a cultural metropolis must focus great attention to its downtown core and its

local neighbourhoods.

Present you with our document on Cultural Quarters!

This document results from two years of intensive study and consultation. We are publishing our

findings not only to share them with you, but to fortify and stimulate the ideas of residents and orga-

nizations dedicated to high-quality development of our local neighbourhoods and our boroughs.

Rather than proposing a generic model, we hope to fuel ideas for promoting the cultural

enrichment of our communities. Such enrichment will draw on our communities’ histories, heritage

and distinctive characteristics, along with their identities and the projects that inspire them. This

document presents just a few of the many and wide-ranging perspectives on these issues!

I certainly hope that you will take the opportunity offered by the sessions of the Commis-

sion sur la culture, le patrimoine et les sports not only to begin or to pursue your own thinking on

this topic, but to give us your feedback. Montréal and all of its population will benefit from your

collective efforts!

Helen Fotopulos

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

6

1 INTRODUCTION

7

APPROACH

The Cultural Quarters project’s mission is founded in Commitment 30 of the city’s Cultural Devel-

opment Policy : “. . . to enrich the ability of Montréal’s to appreciate art, culture and heritage

throughout the city as well as in its downtown core and to build on Montréal’s reputation as a

cultural metropolis in keeping with the identities and environments of the targeted sectors.”3

This document, directly derived from the Policy and Action Plan issued following Rendez-

vous November 2007 — Montréal, cultural metropolis, discusses the opportunities for and feasibility

of enhancing and developing Montréal’s cultural quarters.

To enrich the ability of Montréal’s to appreciate art, culture and heritage throughout the city as well as in its downtown core and to build on Montréal’s reputation as a cultural metropolis.

3 Montréal (2005). Politique de développement culturel 2005-2015, p. 62.

A PROPITIOUS ENVIRONMENT

With implementation of the Quartier des spectacles project—which itself builds on enhancements to

Old Montréal, the formulation of a new urban development plan for Montréal, the Québec Govern-

ment’s upcoming adoption of its Agenda 21 for Culture and the establishment of a worldwide network

of creatively oriented cities, the time is ripe for integrated “glocal”1 approaches to development.

The Cultural Quarters project, with its broad goal of enriching the entire city’s cultural life, is part

of this integrated urban planning effort2 and is spurring new opportunities for cultural development.

The project that was first developed in 2005 under the name “Cultural Poles” has moved on

beyond the more narrowly defined development of arts and culture to acquire a richer, more varied

and decentralized focus.

While continuing to promote traditional artistic and cultural values (education, creation,

production, distribution and preservation), the Cultural Quarters project also embraces the

diversity of our population, nature, local lifestyles, tangible and intangible heritage, public

spaces, social meeting points, businesses, teaching and science, by drawing on a vast number

of local resources in many different areas of activity. These cultural quarters will become unique

and multi-faceted urban cultural spaces.

1 “Global” + “local” = “glocal.” Many observers believe that “glocalization” results from the Internet’s impact on globalization.

2 Integrated urban development means strategies that draw on all environments and situations.

8

OUTLOOK

What will this effort yield? First, an ever-growing number of local stakeholders will sign on to the

Cultural Quarters project, spurring broad-based initiatives to democratize culture, in keeping with

the Cultural Development Policy.

Two specific short-term goals are:

Presenting the progress of this project, which emerged from the 2007-2017 Montréal

Cultural Metropolis Action Plan at the plan’s mid-term meeting in the fall of 2012.

Thoughts and actions pertaining to cultural quarters could make a major contribution to

work that will result in the 2013 adoption of the new Montréal Urban Development Plan.

The key to this effort is making residents and visitors more attuned to and interested in the cul-

tural resources of Montréal and its local neighbourhoods.

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

The assessment process resulting in different approaches to these issues includes:

1 A brief review of the political and administrative context in which the Cultural Quarters

project has evolved.

2 Updates the “cultural quarter” concept based on the existing literature and various local

and other experiences.

3 Assesses the city’s Cultural Quarters project policies and strategies.

4 Lists “existing” and “planned”4 cultural quarters based on observable grassroots realities.

5 Defines the “cultural quarter” concept for Montréal.

6 Itemizes needs and expectations mentioned by the boroughs and partners from social

and professional organizations.

Next, the results of this assessment process will be presented by the Commission sur la culture,

le patrimoine et les sports, so that it may be shared with residents so that they may consider it in

greater detail.

We have accordingly identified more than 30 areas for further study of resources consid-

ered necessary for facilitating the consolidation and development of cultural quarters. These areas

pertain to local cultural activities, event promotion and organization, planning, transportation and

capital investments, as well as the management and coordination of future cultural quarters.

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

9

10

2 MONTRÉAL’S POLITICAL AND ADMINISTRATIVE FRAMEWORK

11

The city’s corporate and central departments are responsible for formulating a comprehensive

Montréal-wide approach to culture, recreation, leisure and parks. As part of this process, the

Direction de la culture et du patrimoine supports boroughs seeking to enhance and develop their

cultural quarters.

2.2.2 BOROUGH COUNCILS

The borough mayor and at least five other city councillors sit on the borough council. The borough

has local responsibilities pertaining to community-based services. As listed in Montréal’s 2011

Budget, these responsibilities include:6

Urban planning.

Regulation of construction, nuisances and hygiene.

Management of main and local roads.

Local sports and recreational facilities.

Local libraries.

Local parks.

Local economic, community, cultural and social development.

Heritage.

6 Montréal’s 2011 Budget : ville.montreal.qc.ca

2.1 GENERAL PRESENTATION

The city has consisted of 19 boroughs since January 1, 2006. Each borough has its own population

mix and geographic, historic, demographic, socioeconomic and cultural features.

The Island of Montréal’s municipal organization is complex and reflects its different con-

stituent entities. Responsibilities are divided among the City Council, the borough councils and the

Urban Agglomeration Council, which represents the island’s related municipalities. Further detail

on the local powers and authorities of the City Council and the borough councils is important in

understanding the Cultural Quarters project’s passage through the city administration. The Urban

Agglomeration Council, on the other hand, has no direct impact on the project at this stage.

2.2 LOCAL AUTHORITIES AND DECISION-MAKING BODIES

2.2.1 CITY COUNCIL

The City Council is Montréal’s primary decision-making body. It consists of Montréal’s mayor and

64 city councillors, 19 of whom are borough mayors. The Charter of Ville de Montréal5 (Loi sur les

cites et villes) grants special powers to the City Council in such areas as:

Urban and land-use planning.

Economic promotion, community, cultural, economic, social and environmental

development and transportation.

Waste collection and recycling.

Culture, recreation and parks.

Social housing.

The municipal road system.

Water treatment.

The police and fire departments.

Towing and municipal vehicle repair.

Municipal Court.

The City Council is responsible for the management of certain parks and of specific cultural, sports

and recreational facilities. Such parks include Mount Royal, Jean-Drapeau, Maisonneuve, Jarry and

La Fontaine. The cultural facilities comprise the Centre d’histoire de Montréal, the Pointe-à-Callière

Montréal Museum of Archaeology and History, the Lachine Museum, the Espace pour la vie (Botani-

cal Garden, Insectarium, Biodôme and future Planetarium).

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

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2.3 SHARING LOCAL RESPONSIBILITIES AND CULTURAL QUARTERS

As previously mentioned, culture is considered to be a community-based service and falls under

borough authority. The Direction de la culture et du patrimoine is responsible for planning and pro-

moting coordinated activities according to the guidelines it has defined. These guidelines are listed

in the Cultural Development Policy that the City Council adopted in 2005, following a collective

effort with the boroughs and a public hearing.

The Direction de la culture et du patrimoine can support the boroughs in developing cer-

tain projects with financial assistance programs and other financial incentives. With respect to the

city’s library system, for example, the boroughs can formulate projects under the Programme de

rénovation, d’agrandissement et de construction de bibliothèques publiques (RAC or public library

construction, expansion and renovation program). The Entente sur le développement culturel de

Montréal (Montréal cultural development agreement), jointly funded by the city and the Ministère

de la culture, des Communications et de la Condition féminine (MCCCF-Ville agreement) provides

the boroughs with such supplemental resources as the cultural bridge building program, the Forum

des équipements culturels and the Fonds du patrimoine culturel québécois.

The Cultural Quarters project falls under these shared sets of responsibilities. The central

city administration and the boroughs must work together in developing these cultural quarters,

since key project components, including citywide dissemination of content, installation of public

artwork, presentation of heritage, library services and documents and amateur artistic activities all

fall under borough areas of authority. With their specific areas of expertise and financial assistance

programs, the Direction de la culture et du patrimoine and the other corporate departments sup-

port the boroughs in developing the cultural quarters.

The boroughs also have responsibilities in a number of other areas that are important to the

cultural quarters, including economic development, community development, urban planning and

by-laws that result from these functions. Urban planning and regulation play particularly important

roles in implementing the Cultural Quarters project.

With respect to culture, the Charter of Ville de Montréal states that the “The borough council shall

exercise the jurisdiction of the city in respect of the parks and the cultural, sports and recreational

facilities situated in the borough”7 (except those administered by the corporate departments).

Borough councils can also formulate opinions and made recommendations to the City Council on

the budget, budget priorities, preparation or modification of the urban plan, amendments to urban

planning by-laws and on any other topic that it deems appropriate.8 The following section outlines

the boroughs’ important role in the Cultural Quarters project.

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

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

8 Ibid.

13

14

3 BACKGROUND

15

The Cultural Development Policy recognizes the Quartier des spectacles as Montréal’s most impor-

tant cultural pole. It is [TRANSLATION] “a pole of access to culture, a pole of innovation and of cul-

tural activity and a pole that reconfirms Montréal’s cultural status.”12

At the Rendez-vous November 2007—Montréal, Cultural Metropolis, various representa-

tives from the world of culture supported a “cultural metropolis” for everyone. In other words, they

supported a metropolis that would invest in the development of arts and of culture throughout its

territory. Various organizations and particularly those working in the social economy grouped to-

gether to create the Coalition pour des quartiers culturels à Montréal by asking the city to launch

initiatives that would support artist workshops, as well as cultural bridge building efforts.

Section 3 of the 2007-2017 Montréal Cultural Metropolis Action Plan seeks to enrich the

community’s cultural life. Point 3.7 of this plan gives following goal: [TRANSLATION] “. . . supporting

the development of cultural poles throughout Montréal.”13 The recommended approach was to:

[TRANSLATION] “. . . formulate a strategy in conjunction with the boroughs and the related munici-

palities to deploy an action plan and to create a network of cultural poles.14

3.2 FROM CULTURAL POLE TO CULTURAL QUARTER

The study by Daniel Arbour & Associés provided additional information on the importance of plan-

ning and of enriching cultural development throughout Montréal and of creating a network of cul-

tural development partners. This study also illustrated Montréal willingness and desire to include

culture in such new areas as city planning programs, the environment, economic development and

sustainable development.

After the study, the cultural pole concept was still unclear to many. Some of the boroughs

believed that their entire territory was a cultural pole, while others said that such a pole was limited

to a specific cultural facility, such as a performance space. Still others responded that a cultural

pole consisted of a set of cultural facilities. The cultural pole idea was often limited, furthermore, to

the strict functions of cultural creation, education, production and dissemination. For the boroughs

and cultural stakeholders that gave their opinions on this question,15 a wide range of different and

unclear definitions apply to the term “cultural pole.”

Despite these issues, the cultural pole concept has served to advance the cultural under-

standing of Montréal. While the first two definitions (cultural access pole and pole of innovation

and cultural activity) require additional thought that leads to the idea of a cultural quarter, the third,

on the other hand, which confirms Montréal’s cultural status, can help identify specific venues that

correspond to it. This is true with the Cité des arts du cirque, TOHU, which represents Montréal’s

leadership position in international circus arts. The same applies with the Espace pour la vie, which

12 Ibid.

13 Ville de Montréal (2007). Plan d’action 2007-2017 – Montréal, métropole culturelle, p. 13.

14 Ibid.

15 ocpm.qc.ca/consultations-publiques/politique-de-developpement-culturel-pour-la-ville-de-montreal

Although the subject was discussed in the mid-1980s in terms of cultural trajectories, it has only

been since the early 2000s that this notion re-emerged in the form of Cultural Poles. We shall briefly

describe the Cultural Poles project that has evolved into a Cultural Quarters plan and has attracted

special interest, particularly because of its ability to build on and incorporate local characteristics

and its potential for responding to Montréal’s cultural development as a whole.

3.1 CULTURAL POLES

Following the Montréal Summit, the city set up 19 projects in 2002 to define top-priority programs

for Montréal’s future. Thrust 1 (Montréal, metropolis of creation and innovation, with a window on

the world) recommended developing cultural poles throughout Montréal as a priority for projects

pertaining to the development of culture, knowledge and innovation. A work group was set up to

give initial thought to the concept of a cultural pole and its definition. This group also teamed up

with the boroughs in listing Montréal’s key cultural activities and facilities.

In 2004, the city asked Daniel Arbour & Associés (DAA) to assist it in this deliberative pro-

cess. The firm submitted a report to the city in 2005 with a definition of the “cultural pole” concept,

a list of existing poles (based on the results of questionnaires sent to the boroughs) and a municipal

action strategy. On completion of the DAA study, the expression “cultural pole” was defined as a

[TRANSLATION] “a pole with access to culture, a pole of creation and of cultural activity or a pole

that confirms Montréal’s status in the field of culture.”9 The borough questionnaires provided a list

of 53 cultural poles complying with that definition. The study concluded that:

[TRANSLATION] “. . . the concept of a pole only applies if it generates a development,

if it identifies the area covered and its boundaries, gives it a personality and an iden-

tity, regardless of the number of concentration of facilities, venues and activities.”10

As we shall see, this definition gave rise to a number of interpretations inconsistent with the emer-

gence of a common concept in Montréal of a “cultural pole.”

The city adopted its Cultural Development Policy—Montréal, Cultural Metropolis in 2005.

This policy’s 30 commitment pertained to the development of cultural poles and incorporated

included some of the DAA’s perspectives:

[TRANSLATION] “The city will establish a cultural pole strategic action plan to en-

rich the arts, culture and heritage and to raise Montréal’s profile as a cultural me-

tropolis. This plan will recommend ways of developing existing poles, along with a

program for developing new poles, in conjunction with each of the boroughs and

partners concerned.”11

9 Daniel Arbour & Associés and Ville de Montréal (2005). Rapport d’étude sur les pôles culturels, p. 13.

10 Ibid, p.14

11 Ville de Montréal (2005). Politique de développement culturel 2005-2015, p. 63.

16

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

Development of the Quartier des spectacles,16

which was first announced in 2003 and for

which a special urban plan was adopted in

2006, has been another key factor in transform-

ing the idea of a cultural pole into that of a cul-

tural quarter. The Quartier des spectacles—

Live, Create and Enjoy Downtown—paved the

way to a new form of urban development in

Montréal, based on an existing cultural func-

tion that could be nurtured and developed. While the Cultural Quarters project operates on a

different scale, it can apply the same approach deployed by the Quartier des spectacles if it is

attuned to local circumstances.

A cultural development strategy built around the cultural quarters project would provide

broader, more varied and decentralized cultural development in Montréal. In contrast with the

cultural central, a cultural quarter is not merely defined by artistic creation, production and dis-

semination activities. It also presents and incorporates heritage, architectural, environmental,

natural, commercial, ethnic, cultural and scientific elements, while involving a broad cross-

section of local partners. Since 2005, we have accordingly evolved from a cultural venue used

for creation, production or distribution into a multi-faceted urban cultural space. The Cultural

Quarters project will also consolidate and showcase Montréal’s many isolated creative entities.

Such creative entities are active in multiple sectors and contribute to Montréal’s cultural and eco-

nomic growth and to improving the quality of its residential neighbourhoods.

16 quartierdesspectacles.com

includes the Botanical Garden, the Insectarium, the Biodôme and the future Planetarium (now un-

der construction). While the Quartier des spectacles, Old Montréal and the historic and natural

borough of Mont Royal are too complex to be primarily defined as cultural poles, they still meet this

definition, the first in terms of the presence of life performance, the second for its tangible heritage

and history and the third for its close relationship between nature and culture.

17

The idea of a “cultural quarter” draws on an expanded view of culture, as defined by UNESCO at the

1982 World Conference on Cultural Policies in Mexico:

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

The cultural quarter concept is part of a new school of thought built around integrated approaches to

urban development. This concept includes principles of incorporating mainstream and broad-based

movements, partnerships and co- ventures

within a network. It reflects a globalizing and

ecosystemic trend, which stands apart from

compartmentalized, sectoral and fragmented

approaches that have constantly been on the

decline, particularly since emergence of the

sustainable development model.

The cultural pole concept developed

into that of the cultural quarter in 2009, based

on the Direction de la culture et du patrimoine’s

guidance and reference documents.

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

18

4 STUDY

19

One of the first examples of urban revitalization employing the cultural quarter strategy was

the Temple Bar Quarter in Dublin, Ireland. This inspirational experiment dating to the early 1980s

clearly illustrates the developmental phases of this cultural quarter, which now enjoys real success

among local inhabitants and visitors. The Marolles cultural quarter in Brussels, Belgium, is another

example of local cultural development that is part of a large-term strategy.

Closer to home, Québec City’s Saint-Roch quarter was transformed some 20 years ago un-

der the impetus of the Méduse co op and supported by the advent of institutions of higher learning

and other cultural enterprises. In Montréal, Old Lachine’s planned developed since the 1970s is an-

other fine example of local cultural development. Old Lachine’s historic and architectural heritage

4.1 THE CULTURAL QUARTER CONCEPT: FROM THEORY TO PRACTICE

The cultural quarter concept evolved during the 1980s in the United States (especially Pittsburgh)

and then in the United Kingdom with the Sheffield Cultural Industries Quarter and the Manches-

ter Northern Quarter. During a post-industrial era in which cities were seeking to restructure their

development and brighten their images, the cultural quarter idea was proposed as a strategy for

increasing the value of urban space and revitalizing brownfield areas and sectors suffering from ur-

ban decay. Cities no longer see themselves as heavy industrial structures, but as living, dynamic and

evolving systems incorporating activities that must become better integrated. In many cases, the

cultural quarter goal was to improve local living environments, while conceiving of and using the

arts and culture as (new) tools for economic and tourist development. Since 1985, many examples of

cultural quarters have emerged throughout the world, particularly in Europe, with the annual desig-

nation of a “European Capital of Culture,”18 by the European Parliament and the Council of Europe.

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

EXPERIENCE ABROAD: TEMPLE BAR, DUBLIN (IRELAND)

_In 1970, a transport company wanted to turn a deserted neighbourhood into a bus depot.

_In the early 1980s, artists began in-vesting in the sector’s abandoned build-ings. Small restaurants and art galleries gradually cropped up. The eponymous Temple Bar was already present.

_Artists launched the Temple Bar Devel-opment Council (creation of a development model, an architectural working plan and the creation and management of an incen-tive tax system for entrepreneurs).

_Government establishment of Temple Bar Properties Limited (acquisition of buildings, development of projects and private sector partnerships, program of activities, of public art, of small business development and of marketing).

_Participation by the Prime Minister of Ireland and the Dublin City Council.

_Neighbourhood renewal project sub-mitted to the European Union under the European Regional Development Fund for its new Urban Pilot Project program.

LOCAL EXPERIENCE: NOUVO ST-ROCH, QUÉBEC CITY

_1992: Revitalizaction Plan_1993: Development of the Jardin St-Roch garden and renovation of the Dominion Corset

plant to accommodate municipal public servants._1994: Opening of Complexe Méduse, with the Université de Laval Faculté d’aménagement,

d’architecture et d’arts visuels moving to the former plant._1996: Building renovation and artist workshop acquisition programs. _1997: ÉNAP, Télé-Université and the Université du Québec’s head office located in the sector._1999: Formulation of a concept plan._2000: Removal of the mall roof (Phase 2 in 2007)_Master plan of the project adopted in 2008 ($300,000 from the La Cité borough)._Investment in municipal infrastructure. _Property investments by Groupe Geneviève Miron._Promotion and atmospheric enhancement of the district by the Nouvo St-Roch business

development corporation._Total of $380 million invested to date.

20

Roodhouse said that cultural quarters can grow if two prerequisites have been met. First,

they generally emerge in urban sectors that already contain an embryonic cultural presence, largely

due to the fact that artists and small creative enterprises have acquired premises in such low-rent

rust-belt sector and have changed the environmental aesthetics with their lifestyles. Second, cultur-

al quarters can develop if public administrations take the initiative of investing in them by supporting

the following kinds of developments:

“. . . a cluster of activities and networks (embedded in a particular place), a series of

associations, a context (for the use of planning and development powers to preserve

and encourage cultural production and consumption), integrated cultural and eco-

nomic development strategy (focused on the regeneration of cultural infrastructure

and a selected physical urban area).”21

Cultural quarters are, accordingly, sectors with some cultural presence and in which the

leadership and support of public authorities are needed to underpin and promote the cultural func-

tion. The Quartier des spectacles is an excellent example of Roodhouse’s thinking. This quarter,

which developed principally from 1920 to 1960 with the creation of many cabarets, has maintained

a strong cultural presence for over a century. A number of major cultural facilities have been added

since that time. The city and several public (the provincial and federal governments) and private

partners decided to invest in this downtown sector to revitalize it and strengthen its cultural arts and

performance functions, while taking various other urban ingredients into account.

21 Ibid.

alongside its natural patrimony, accompanied by the presence of artwork and cultural venues, de-

livers a remarkable impact. More recently, the Pôle de création des Faubourgs was established in

western Ville-Marie borough in 2009. This cultural quarter is intended to serve as a vast laboratory

for the succession and for an avant-garde society in which culture is recognized as being an en-

gine of economic development. Over 250 associations, businesses and cultural venues employing

some 7,500 people are engaged in its vast cultural economy sector.19

Many scientists, professors and urban planners have helped define and develop the cul-

tural quarter concept that has emerged over the past 30 years. We can see that this notion has

evolved from merely being a goal of urban revitalization efforts to an outcome built primarily around

integrated urban planning. We have selected definitions from three of the experts who have writ-

ten about this idea: Simon Roodhouse (United Kingdom), Mariangela Lavanga (Italy), Elsa Vivant

(France) and the distinguished urban planner, John Montgomery (United Kingdom). As part of our

task and based on the results of consultations conducted in 2010, definitions and conceptual mod-

els selected correspond with borough and local partner perceptions of a cultural quarter in Montré-

al. We shall discuss more of what these boroughs and partners said in sections 4.3 and 4.4, below.

In his text Cultural Quarters: Principles and Practice, Prof. Roodhouse defined a cultural

quarter as follows:

“ . . . a geographical area of a large town or city which acts as a focus for cultural

and artistic activities through the presence of a group of buildings devoted to hous-

ing a range of such activities, and purpose designed or adapted spaces to create

a sense of identity, providing an environment to facilitate and encourage the provi-

sion of cultural and artistic services and activities . . . a cultural quarter represents

the coherence and convergence of the arts and heritage in culture, and culture as a

manifestation of society.”20

19 lesfaubourgs.ca

20 S. Roodhouse (2006). Cultural quarters, principles and practices. p.21.

LOCAL EXPERIENCE: OLD LACHINE

_330 years of history (fur trade, explorers, Lachine Canal)._1973-1991: Vision and leadership of Mayor Guy Descary (René-Lévesque Park, promo-

tion of the historic and heritage site, partnership with Parks Canada, development of the marina, etc.).

_2001: Brainstorming development of the Old Lachine Cultural District and boulevard Saint-Joseph.

_Three national historic sites: Lachine Canal, Fur Trade at Lachine, Maison LeBer – LeMoyne._Cultural venue: Guy-Descary Cultural Complex, Lachine Museum and the Musée plein air_Historical sites: Fort-Rolland, Dawes and Dominion Engineering industrial sites, Auberge

Heney and Saints-Anges-Gardiens Church._Presence of commerce, institutions and tourism (Pôle des rapides)._Major events: Festival arts de rue, Symposium de peinture, Dragon Boat Festival, etc._Water and sports activities._Leadership assumed by Lachine borough in conjunction with local stakeholders.

21

Lavanga listed a cultural quarter’s key characteristics as a central location, cultural facilities, a variety

of different functions, a bridge between cultural consumption and production and a strong pres-

ence of public artwork. She added that the most important aspect is generally the balance of

existing functions and uses, accompanied by the links between and symbiosis among each such

component, enabling the cultural quarter to constantly renew itself and evolve.

John Montgomery was one of the first urban planners to use the cultural quarter concept in the early

1980s. After several years of studying and developing cultural quarters in various cities, first in the

United Kingdom and then throughout the world, he identified four types:

Museum cultural quarters.

Institutional cultural quarters.

Metropolitan cultural quarters.

Industrial cultural quarters (poles of production for the plastic arts and for the creative

and design industries).23

The metropolitan category seems best suited to Montréal’s boroughs, as it involves dynamic urban

planning, along with diverse uses and functions. Other kinds of cultural quarters are focused more

on a specific cultural function, such as the cultural poles discussed in section 3.1, above.

It seems clear that Montréal’s future cultural quarters will each have its own character and components incorporating a range of urban functions, uses and facilities. In view of the inherent differences of the various boroughs and their contrasting real-life situations, a “one size fits all” approach would not be suitable. Each borough has the authority, as previously discussed, to define what it believes to be a cultural quarter and to determine the kinds of entities that it wants to enhance and develop.

23 halliejones.com/Resources/CulturalQuarters.pdf

Researcher Mariangela Lavanga, who focused on the development of cultural quarters in Tampere

(Finland) and Rotterdam (Netherlands), discusses the cultural quarter concept as follows:

“. . . a wider view in which the needs and tastes of local communities appear to pre-

vail in the attempt to redesign the urban shape through a more organic integration

of art works and activities in everyday life, aiming at the rise of residents welfare and

at the enhancement of the urban identity in residents’ and visitors’ perceptions . . .

the development of cultural quarters often takes place in specific quarters of the city,

distinct areas defined by their limited area, their mix of types and sizes of buildings

and tenure, their human scale and their individual character and intrinsic identity .

. . The cultural quarter represents the city’s avant-garde heart, its creative milieu.”22

22 fokus.or.at/fileadmin/fokus/user/downloads/acei_paper/lavanga.pdf

LOCAL EXPERIENCE: QUARTIER DES SPECTACLES, MONTRÉAL

_2001: The ADISQ recommended the Quartier des spectacles urban develop-ment project for Montréal’s downtown region.

_2002: The Quartier des spectacles was a priority of the Montréal Summit.

_2003: Montréal created the Quartier des spectacles partnership. The organiza-tion defined the Quartier’s visual identity and first collective projects.

_2007: Development by Daoust Lestage Inc. of the special urban planning pro-gram for the Place des Arts sector of the Quartier des spectacles.

_2007: The project was backed by the federal and provincial governments, which each agreed to match Montréal’s $40 mil-lion contribution over four years to carry out the project ($120 million investment).

_2009: The Quartier des spectacles partnership became responsible for bring-ing more life to the sector, managing pub-lic areas and enriching cultural offerings. It pursued such collective efforts as the Lighting Plan and promoted the Quartier des spectacles as a world-class cultural destination and furthered its development.

22

Finally, this report will consider the ideas of Professor Elsa Vivant, from France. Author of

Qu’est-ce que la ville créative?, this urban planning researcher focuses on such issues as the urban

planner’s role in producing the creative city. We feel that the concept of “cultural quarter” overlaps

with that of “creative city,” although her work does not strictly address the question. The cultural

quarter concept may be perceived as a means of strengthening, developing and enhancing a

creative metropolis. Such an approach is a local strategy that forms part of a global approach.

If Montréal wants to be a cultural metropolis, it must draw upon and imbue itself with the cul-

tural wealth of its constituent boroughs.

Elsa Vivant proposes an original urban planning concept of “serendipity” that would permit

a city’s true creative development. “Serendipity” refers to a city’s ability to leave things to chance

and to let urban wanderers be greeted by surprises and unanticipated encounters. Creativity thrives

in urban explorations that are accompanied by new discoveries. According to Vivant, cities that

seek to grow their creativity using rigid urban policies that create homogeneous cityscapes are on

the wrong track. She says:

[TRANSLATION] “. . . an urban planner’s challenge is not to design a creative city,

but to establish prerequisites for such creativity by leaving room for the unknown

and accepting than unplanned and even unauthorized practices will arise, permit-

ting unexpected encounters . . . . Development of a creative city depends on stake-

holder abilities to accept and encourage initiatives beyond their own reach.”26

26 E. Vivant (2009). Qu’est-ce que la ville créative?, p. 80.

In keeping with Montgomery’s thinking, three factors are critical to the success and

sustainability of a cultural quarter in Montréal: existing economic, cultural and social activities, the

built heritage (relationships between buildings and spaces), and the historic or cultural significance

of the location.

“Activity:

Diversity of primary and secondary land uses

Extent and variety of cultural venues and events

Presence of an evening economy, including café culture

Strength of small-firm economy, including creative businesses

Access to education providers

“Built form:

Fine-grain urban morphology

Variety and adaptability of building stock

Permeability of streetscape

Legibility

Amount and quality of public spaces

Active frontages

“Meaning:

Important meeting and gathering spaces

Sense of history and progress

Area of history and imagery

Knowledgeability

Design appreciation and style”24

A successful cultural quarter, for Montgomery, is one that provides a consistent and unique setting

for its built heritage, activities and significance, while adding to the host city’s identity. Authenticity

and an ability to organize, innovate and adapt to change are key qualities of a cultural quarter.

Many of these qualities were mentioned during consultations with the boroughs and part-

ner organizations. Representatives of Héritage Montréal and L’Autre Montréal spoke to us, for exam-

ple, about the importance of enhancing the history and built heritage of local neighbourhoods. In

Ville-Marie’s Pôle de création des Faubourgs,25 the entrepreneurial aspect of art and culture clearly

predominates.

24 Ibid.

25 lesfaubourgs.ca

23

4.2 PUBLIC POLICIES

Certain crucial factors must be included in planning cultural quarters. The city’s policies and action

plans include the following important considerations. We shall begin by discussing documents that

we feel pertain directly to the cultural quarter concept.

4.2.1 CULTURAL DEVELOPMENT POLICY (2005)

The city’s 2005-2015 Cultural Development Policy: Montréal Cultural Metropolis contains a number

of commitments to the Cultural Quarters project. The policy also makes a formal commitment to the

project. We believe that the following commitments are most closely related to the project.

Commitment 5_Montréal has not only adopted a Cultural Development Policy, it will make culture a

key component of its urban policies. It will also help implement and monitor Agenda 21 for Culture

locally and within the framework of its international relations.

Commitment 11_The city will include a cultural component in its Integrated Urban Revitalization Pro-

gram, will promote access to projects for amateur artists developed under the program and will

place greater emphasis on culture’s contribution to Montréal’s social development.

Commitment 27_In close conjunction with the boroughs concerned and its other partners, the city

will adopt an action plan and tools enabling it to take action in consolidating and developing work-

shops for artisans and artists, with or without living spaces, particularly in central areas. In particular,

the city will support access to property ownership programs for artists.

Commitment 28_The city will, in conjunction with the boroughs, formulate a comprehensive public

art action plan, including a new artwork acquisition plan, a municipal program of integration of

the arts with architecture, along with initiatives to protect public works of art installed on private

property.

Commitment 29_The city will improve the integration of design into its activities, particularly with

respect to public spaces, new buildings, road repair and street furniture, while maintaining its ef-

forts to promote design among residents and its institutional and private partners and raising Mon-

tréal’s international status as a City of Design.

Commitment 30_The city will deploy a strategic cultural pole action plan in line with its goals

of enriching residents’ experiences in the arts, culture and heritage while exploring their city

and of boosting Montréal’s lure as a cultural metropolis. The city will also propose ways of en-

riching existing cultural poles and formulate a program for developing new poles in conjunc-

tion with each borough and partner concerned.

As Elsa Vivant mentions, a city’s creative development depends on many factors. City plan-

ners, like specialists in culture and other fields, have major roles to play in formulating a compre-

hensive development plan. A broad-based and inclusive project such as the Cultural Quarters

must be part of small- and large-scale development plans because of its impact on both urban

and cultural factors. With Montréal’s Urban Plan under revision, this would be an excellent oppor-

tunity for the boroughs to include in the forthcoming plan’s local versions guidelines and actions

designed to promote their own cultural development plans, including sectors that could become

cultural quarters over the short, medium or long terms.

This cursory review of the literature on cultural quarters explains the concept’s origin and

evolution over the past 30 years, particularly with respect to various integrated urban planning and

revitalization efforts in different Quebec communities and elsewhere. Cultural quarters come in dif-

ferent shapes and sizes, but they all seek to enhance the cultural offerings of local communities by

employing and promoting culture and the arts as development tools.

24

4.2.2 HERITAGE POLICY (2005)

Heritage in all its forms (natural, along with tangible and intangible culture) is an intrinsic component

of the urban landscape. The boroughs are always concerned with highlighting their heritage and

history. The Heritage Policy contains two broad areas of action with respect to cultural quarters:

The creation of a system for organizing heritage activities (proactive efforts by the city in

inviting partners to assume their proper responsibilities and promoting the emergence of

creative solutions to complex or divergent issues, support for heritage associations and

the forging of networks among those involved heritage activities).

An active and standard-setting role by this organization as an owner and manager of

heritage properties.28

4.2.3 URBAN PLAN (2004—CURRENTLY IN REVISION)

Montréal’s Urban Plan provides essential support for the Cultural Quarters project. City planners

must not only enforce the law, but participate in the formulation of a comprehensive plan for the city

and projects for its communities. The Urban Plan is currently in revision. The Executive Committee

has, accordingly, created a Bureau du Plan that will work with the boroughs to produce the Mon-

tréal Urban Development Plan by 2013. This development plan will provide a strategic overview

of Montréal’s future, along with municipal guidelines and policies on city planning programs and

priorities for development and action, accompanied by methods for implementing and monitoring

these efforts.

The existing urban plan includes the seven following guidelines:

Diversified, complete and excellent living environments.

Effective transportation systems that support the city’s development and are properly

integrated into its structure.

A prestigious, user-friendly and populated urban centre.

Dynamic, accessible and diversified employment sectors.

A beautiful cityscape consisting of excellent architectural work.

Spotlighting built, archaeological and natural heritage.

A healthy living environment.

The “diversified, complete and excellent living environments” guideline corresponds particularly

well with the Cultural Quarters project. The city intends to be active in urban revitalization, main-

tenance and adaptation of housing, planning programs for public and private green spaces, im-

provement of roads, thoroughfares and shopping poles and the upgrade of community services

and facilities.

The city has also formulated an Integrated Urban Revitalization Strategy. The cultural com-

ponent does not, for the moment, seem to have been included in all revitalization sectors. Some

28 ville.montreal.qc.ca/patrimoine

Commitment 31_The city will give high priority to completing the Quartier des spectacles. This col-

lective project will emphasize the development of culture and a balance between different cultural

forms in the aim of producing a popular venue for residents and an international cultural destination.

Commitment 32_The city will adopt consistent signage and form a network among and give the ap-

propriate visibility to institutions, facilities, events, public artwork and other important expressions

of Montréal’s culture and heritage.27

27 Montréal (2005). Politique de développement culturel 2005-2015, p. 76-77.

25

ed goals and strategies for the network in terms of content offered, demand, demand for building

bridges between communities and for support, facilities, resources, follow-up and coordination.

Like libraries, cultural venues are firmly rooted in their cultural quarters, facilitating access and resi-

dent participation in cultural activities.

4.2.6 ASSESSMENT OF AMATEUR ARTISTIC ACTIVITIES

In line with the library and réseau Accès culture assessments, the Bureau du loisir (of the Direction

de la culture et du patrimoine) launched an Assessment of Amateur Artistic Activities in Montréal

(Diagnostic de la pratique artistique amateur à Montréal) in 2011, in conjunction with the boroughs.

This assessment is intended to guide in the planning of new municipal services for amateur artistic

activities and to increase the use of such services for the following reasons:

Adapt them to residents’ current and future needs.

Improve resident ability to participate in cultural activities with a special focus on young

people, families, new immigrants and low-income individuals.

Promote active participation in cultural events.

Help make Montréal a more inclusive and forward-reaching metropolis.

A five-year action plan will be developed based on this Assessment. The plan will define municipal

strategies for guiding the city and its boroughs in expanding amateur artistic activities through 2017.

of these sectors, however, are situated in a “cultural quarter.” This is true with the Sainte-Marie and

Saint-Jacques sectors located in the Pôle de création des Faubourgs and which are active in the

latter’s development. The Integrated Urban Revitalization Strategy, mentioned in the Urban Plan,

presents the following guiding principles:

Adopting a coordinated and comprehensive policy on the situation of the sections

concerned.

Seeking to provide an integrated response in many areas based on the community’s

situation.

Merging, coordinating and adapting public, community-based and private efforts.

Popular involvement in planning, implementing and monitoring activities.

Intending to eliminate causes of poverty as part of a sustainable development initiative.29.

4.2.4 ASSESSMENT OF MONTRÉAL’S PUBLIC LIBRARY SYSTEM (2005, 2007)

AND THE STRATEGIC LIBRARY SYSTEM PLAN (2004, 2005, 2007)

The Assessment of Montréal’s Public Library System (Diagnostic des bibliothèques)30 submitted in

2005 by Montréal and the Ministère de la culture, des Communications et de la Condition féminine,

then updated in 2007, detailed the status of Montréal’s public libraries. A Public Library Enhance-

ment Plan (Plan de consolidation du réseau des bibliothèques publiques) was proposed following

this assessment. The Enhancement Plan was primarily intended to enable these libraries to offer the

average level of resources and services found in other Canadian cities with populations of 500,000

or more. The Public Library Construction, Expansion and Renovation Program (Programme de réno-

vation, d’agrandissement et de construction des bibliothèques publiques—RAC) was set up to pro-

vide financial assistance to boroughs investing in building projects aimed at upgrading, enhancing

or boosting their public library service levels.

Public libraries have a key role to play in the Cultural Quarters project. Often viewed as a

portal to information and knowledge for each citizen, libraries also form part of their communities’

backbones and serve as important event venues. They promote social integration and help improve

quality of life. After work and home, they have increasingly become a “third space” for living, learn-

ing and meeting others.

4.2.5 ASSESSMENT OF RÉSEAU ACCÈS CULTURE (2009)

AND THE RÉSEAU ACCÈS CULTURE ACTION PLAN (2010-2014)

The strategy employed by réseau Accès culture is similar to that of the libraries. An assessment of

activities at 22 municipal cultural venues was submitted in 2009. For each venue, this assessment

listed the kinds of cultural activities it provided, its accessibility, the resources at its disposal, the

importance of developing new audiences and upgrading facilities and the power of the municipal

cultural dissemination system. Following this assessment, the city formulated the 2010-2014 réseau

Accès culture Action Plan (Plan d’action 2010 à 2014 du réseau Accès culture),31 which recommend-

29 ville.montreal.qc.ca/plan-urbanisme

30 ville.montreal.qc.ca/biblio

31 accesculture.com

26

4.2.10 CULTURAL TOURISM DEVELOPMENT PLAN (2010)

Cultural tourism is a key ingredient of many cultural quarters. Tourisme Montréal’s Cultural Tourism

Development Plan (Plan de développement du tourisme culturel à Montréal – strategies et action),

produced in partnership with the city and the Ministère de la culture, des Communications et de la

Condition féminine, presents guidelines and activities that can easily blend into the development of

cultural quarters. These recommendations (found in chapters 2 and 3 of the text) include:

[TRANSLATION]

Make lighting a key component of Montréal’s branding.

Make lighting a key element in the development of urban projects.

Develop and showcase the cultural experiences of local neighbourhoods and Montréal’s

urban villages.

Name local neighbourhoods and urban villages offering high potentials for cultural

endeavours and tourism.

Develop planning tools to ensure that tourists are aware of these neighbourhoods.

Make it easier for tourists to find and get to cultural venues.

Become more aware of the needs of cultural institutions to be identified and of tourists

to find them.

Promote the development of more specialized cultural and thematic tours.

Work with specialized organizations in adding new tours to traditional ones.34

Other administrative documents that could influence development of the Cultural Quarters project

are discussed below.

34 tourisme-montreal.org

4.2.7 PUBLIC ART POLICY (2010)

Public art is a key ingredient of cultural quarters. The city’s Public Art Policy seeks to make art more

widely available, highlight artists and improve city living. This document embraces three guiding

principles and three areas of action:

The three guiding principles:

Build on knowledge and experience.

Include public art in municipal strategies and projects.

Promote corporate involvement.

The three areas of action:

Maintain and preserve.

Acquire and develop (broader and more balanced distribution of artwork throughout the

city, improved quality of live and better urban planning program that incorporate public

art and participation in such efforts by the private sector).

Disseminate and promote (cultural trajectory, events, access to information and Web).32

4.2.8 “MONTRÉAL UNESCO CITY OF DESIGN” (2006)

Montréal was designated a “UNESCO City of Design”33 in 2006 by the Global Alliance for Cultural

Diversity of United Nations Educational, Scientific and Cultural Organization’s (UNESCO’s) Creative

City Network. Convinced more than ever before of design’s crucial importance to the metropolis’s

growth and prosperity, the city created the Bureau Design Montréal. This office has been tasked

with implementing the new municipal action plan for upgrading the city’s design and asserting

Montréal’s status as a city of design. The quality of a city’s design, architecture and planning pro-

grams directly contribute to that of its life, to the pride of its residents and to the pleasure of visitors.

The Cultural Quarters project responds to this idea and to the importance of incorporating design

in the urban planning of future cultural quarters.

4.2.9 MUNICIPAL UNIVERSAL ACCESS POLICY (2011)

The Cultural Quarters project must address the importance of enabling all individuals, regardless of

their abilities, to enjoy autonomous and simultaneous identical or similar use of services and activi-

ties provided in future cultural quarters. Special emphasis must accordingly be given to the prin-

ciple of universal accessibility. Moreover, the project must comply with guidelines set out under the

Montréal, Universally Accessible City (Montréal, ville universellement accessible) policy. The Direc-

tion de la culture et du patrimoine has in fact already rolled out many initiatives promoting universal

access to municipal sites and services. As a result of these initiatives resulted, AlterGo this year pre-

sented its 4th PANAM Prize to the Direction.

32 ville.montreal.qc.ca/artpublic

33 mtlunescodesign.com

27

4.2.12 TRANSPORTATION PLAN (2008)

Transportation is a key component in future cultural quarters and can support their development.

Planning for such quarters must safely, positively and sustainably meet the transportation needs of

pedestrians, cyclists, public transit riders and car drivers and riders. The Cultural Quarters project

must accordingly review and incorporate the following Transportation Plan guidelines and projects

(including green neighbourhoods):36

Collective and active transportation.

The local road system and parking.

Safe travel and quality of life.

Trips generating economic value and the shipment of goods.

Innovation.

4.2.13 ECONOMIC DEVELOPMENT STRATEGY (2011-2017)

Montréal’s Economic Development Strategy assigns a prominent role to culture. The strategy treats

culture as an engine of economic development, since it ensures social cohesion while also pertain-

ing to urban planning, development and human resources. The strategy’s long-term goal is to rank

Montréal by 2025 among those North American metropolises that offer the best quality of life. This

goal also coincides with the Cultural Quarters project’s objective of enriching the cultural quality of

our living space. The Economic Development Strategy proposes various strategies for making Mon-

tréal an innovative and forward-looking cultural

metropolis:

Help implement the Montréal, Cultural

Metropolis Action Plan 2007-2017 to enhance

and raise the city’s profile.

Continue to building on Montréal’s position

as a “UNESCO City of Design.”

Contribute to the renown of Montréal as a

knowledge-based city and of its universities.

Promote the establishment and development

of artists and of cultural enterprises in the

Quartier des spectacles and expand the

scope of PR@M-Industry.37

36 ville.montreal.qc.ca/plandetransport

37 sdemontreal.com

4.2.11 FAMILY POLICY (2008)

The Cultural Quarters project, which treats cultural quarters as residential environments with locally

based cultural services, addresses needs of Montréal’s families. Montréal’s Family Policy35 recom-

mends taking action in four urban spheres that pose specific challenges: the home (affordable hous-

ing), the streets (beautification and safe circulation of traffic), the neighbourhood (community-based

services, green spaces and public facilities) and the city (public transit, sustainable development

and world-class activities and services). The Cultural Quarters project corresponds with the Family

Policy’s core goals:

Prioritize young people and families in contributions by all municipal partners and

stakeholders.

Improve and develop quality of life for Montréal’s families based on their local situations.

Define a “Montréal family target” to meet by 2012 with respect to keeping residents from

25 to 44 years of age in the city.

Promote mutual assistance among different generations.

35 ville.montreal.qc.ca/famille

28

The Montréal Tree Policy (2005) also applies to the development of cultural quarters. Trees repre-

sent a great heritage in many boroughs. Outremont’s urban forest, for example, helps define the

cityscape and improves its quality of life. Trees [TRANSLATION] “contribute to the branding of lo-

cal neighbourhoods, increase the sense of peace, contribute to social interaction, attract new resi-

dents and serve as sources of inspiration.”41

4.2.16 AGENDA 21 FOR CULTURE (2004)

Agenda 21 for Culture focuses on cultural commitments and was adopted on May 8, 2004 in Barce-

lona by communities meeting at the Fourth Forum of Local Authorities of Porto Alegre. This interna-

tional text has been approved by cities, local governments and worldwide organizations that have

made commitments to cultural diversity, participatory democracy, human rights and the creation of

conditions in which peace can prevail.

41 Ibid

4.2.14 IMAGINING - BUILDING MONTREAL 2025 (2005)

The Imagining - Building Montreal 2025 Strategy38 sets out five areas of action:

Montréal, city of knowledge, creation and innovation.

Montréal, forward-looking.

Montréal, an outstanding place to live.

Montréal, city of efficient infrastructure.

Montréal, city open to the world.

Initiatives and projects of particular concern to Montréal, forward-looking cultural metropolis,

support several Cultural Quarters project goals:

Make culture more accessible to residents (public library system, cultural centres,

partnerships with museums, presentation of heritage, etc.).

Support development of the arts and of culture (creation of artist workshops, funding by

public and private partners of the arts and of culture, bolstering links between art and

technology, etc.).

Improve the urban environment (Quartier des spectacles, public art, ongoing contribution

of design and development of cultural poles).

Employ culture as an engine of economic development (supporting cultural events and

festivals, promoting development of the technological arts, etc.).

4.2.15 POLICY ON THE PROTECTION AND ENHANCEMENT OF NATURAL HABITATS (2004)

Nature and the environment are also key life quality components that will be greatly enhanced in

certain cultural quarters. Goal three of the Policy on the Protection and Enhancement of Natural

Habitats39 promotes a better integration of ecosystems and natural landscapes within residential

communities. Guidelines for 2009-2010 set out in the 2007-2008 Review of this policy are notewor-

thy in terms of cultural quarters:

Formalize innovative products that integrate natural habitats within urban spaces.

Ensure programs to plan protected natural habitats: make natural habitats accessible

to the urban population.

Include new sites in the city’s large park system.

Broaden our efforts to make the city greener.40

38 montreal2025.com

39 ville.montreal.qc.ca/grandsparcs

40 Ibid

29

Actions proposed under this orientation include the creation of sustainable neighbourhoods. Fol-

lowing the consultation process, we observed that other municipal projects, such as “Sustainable

Neighbourhoods” (Quartiers durables), “Green Neighbourhoods” (Quartiers verts) and “Water-

side Path” (Parcours riverain) are increasingly opting for integrated and coordinated approaches

just like the Cultural Quarter project. Production of the future Urban Development Plan will provide

an opportunity for merging these initiatives in which the environment and culture are increasingly

interdependent.

This section highlights the important roles that certain municipal policies and action plans have

played in developing the Cultural Quarters project. Other policies and action plans from Montréal

or the Québec government could affect the project. For the moment, we have only discussed those

that seem most relevant.

In referring to the UNESCO Universal Declaration on Cultural Diversity (2001), the Agenda

recognizes cultural diversity as a key ingredient in the transformation of urban and social life and

emphasizes the need for a balance between private and public interests. The Agenda is also based

on the conviction that culture is the fourth pillar of sustainable development and recommends forg-

ing solid bridges with other spheres of activity and of governance.

Montréal’s City Council endorsed the principles of Agenda 21 for Culture on June 21, 2005.

In 2007, the city became a founding member of the United Cities and Local Governments (UCLG)

Working Group on Culture. This international body overseas “Promotion of cultural as the fourth

pillar of sustainable development . . . . through the international dissemination and local implemen-

tation of Agenda 21 for Culture”42 under its 2011-2013 Program.

Since October of 2010, Montréal has, along with Buenos Aires, Lille and Stockholm, been

one of the vice chair cities of the UCLG’s Working Group on Culture. Barcelona is the chair.

The Cultural Quarters project corresponds with the goals of this document, which seeks to

make culture part of all spheres of a city’s activities.

4.2.17 MONTRÉAL COMMUNITY SUSTAINABLE DEVELOPMENT PLAN (2010-2015)

Incorporating the principles of sustainable development in our practices and projects has become

essential if not vital to human survival in this new millennium. While for many the term “sustainable

development” refers primarily to the environment, it also encompasses the economic and social

spheres. Culture has been promoted as the fourth pillar of sustainable development since the

2000s. Values such as diversity, creativity and critical thinking that are inherent to cultural functions

are now recognized as essential to the sustainable development of our societies. Making culture a

fourth pillar of sustainable development means supporting the development of the cultural sector

itself and recognizing the importance of culture in all public policies. The Montréal Community Sus-

tainable Development Plan acknowledges culture’s role and says that: [TRANSLATION] “Montréal,

as a pioneer in recognizing the cultural component’s importance in urban development, wishes to

maintain this momentum by including a cultural perspective in its sustainable development strat-

egy. Montréal fully endorses the approach taken by the United Nations Educational, Scientific and

Cultural Organization, which refers to cultural diversity as the “world’s heritage” and says that such

diversity must be recognized and confirmed on behalf of existing and future generations”43. This

strategic position marks an important step in recognizing culture’s role in local territorial develop-

ment and why it is so important in the Cultural Quarters project.

The Cultural Quarters project is guided by the principle of mainstreaming cited in the following

orientation of the Sustainable Development Plan:

Ensure residential quality of life.

42 agenda21c.gouv.qc.ca

43 ville.montreal.qc.ca/developpementdurable

30

4.3.1 “EXISTING” CULTURAL QUARTERS

“Existing” cultural quarters have a large number of cultural facilities, services and activities clustered

within an already multifunctional sector. The boroughs want to develop, enhance and boost the

profile of such sectors. A few such sectors include:

Ahuntsic–Cartierville : presentation of the historical, architectural and natural heritage of

the Sault-au-Récollet sector of boulevard Gouin, the Île-de-la-Visitation Nature Park, the old

watermill and Cité Historia events. Nearby, there is also the Maison des arts et des lettres

Sophie-Barat and Ahuntsic Park, which hosts FestiBlues in the fall.

Côte-des-Neiges–Notre-Dame-de-Grâce : Jean-Brillant Park sector, the Université de

Montréal, St. Joseph’s Oratory and chemin Côte-des-Neiges at the heart of the borough.

Presentation of a popular event showcasing heritage and cultural diversity.

Lachine : the Old Lachine cultural quarter, including boulevard Saint-Joseph, René-Lévesque

Park, historic sites, cultural poles and museums. Development of a thematic signage

concept, branding and cultural tours.

Sud-Ouest : The Atwater hub, including the Corona Theatre, rue Notre-Dame, the Atwater

Market, the Georges-Vanier Cultural pole and the Lachine Canal sector. Revitalization of rue

Notre-Dame, presentation of heritage and installation of artist workshops.

Mercier–Hochelaga-Maisonneuve : promotion of the Hochelaga-Maisonneuve quarter

and its Maisonneuve Market, promenade Ontario, place Valois, the Maisonneuve cultural

pole, the Maisonneuve library and stronger ties with the Espace pour la vie.

4.3 IDENTIFYING CULTURAL QUARTERS

Our consultations with the boroughs began in January 2010 and concluded in April 2011. Most of

these meetings included representatives from two departments, one involved in culture and the

other in urban planning. As previously discussed, the Cultural Quarters project addresses culture

and planning (issues of zoning, by-laws, occupancy permits, posters, etc.).

Meetings with our colleagues from the boroughs were intended to determine:

Their definition of “cultural quarter.”

The status of their cultural situation and their outlook for the future.

What they expect in this regard from the corporate departments.

Some boroughs had short-term views of the future; the action plans of others were spread over sever-

al years. At the conclusion of each meeting, our colleagues easily named one or more sectors of their

boroughs that served as a hub of cultural activities or offered a potential for cultural development.

We deliberately chose to define the expression “cultural quarter” during these meetings.

Rather, we wanted the boroughs to describe what an existing or potential cultural quarter is for

themselves, based on their own situations. We did, however, propose a basic and broad defini-

tion: a demarcated space with a concentration of cultural services and activities within a certain

territory that promotes development and symbiotic relationships among stakeholders interacting

within that territory.

For purposes of study, the cultural quarters listed by the boroughs have been placed in

“existing” and “planned” categories.

31

Rosemont–La-Petite-Patrie : the Jean-Talon Market and Little Italy sectors, rue Saint-Hubert

between Rosemont and Beaubien, the Beaubien Cinema sectors with its cafés, restaurants

and shops, Beaubien Park and various events.

Ville-Marie : a desire to enhance and develop the Jean-Marie-Gauvreau centre sector, the

Patro Le Prévost library, Casa d’Italia, neighbouring Jarry Park and boulevard Saint-Laurent

at the intersection of Jean-Talon.

Villeray–Saint-Michel–Parc-Extension : la volonté de consolider et de développer le

secteur du centre Jean-Marie-Gauvreau, la bibliothèque Patro Le Prévost, la Casa d’Italia, le

parc Jarry à proximité, le boulevard Saint-Laurent croisant la rue Jean-Talon.

Outremont : sector surrounding the Outremont Theatre, including the library, the art gallery,

Saint-Viateur Park (with its outdoor shows and exhibits), Paul-Gérin-Lajoie-d’Outremont

secondary school and its drama program, Beaubien Park with its outdoor shows, public

artwork and further to the north, the intergenerational community centre.

Plateau–Mont-Royal : several sectors, such as Maguire, to consolidate, artist workshops to

maintain, the Main and its designer boutiques, avenue du Mont Royal, the eastern Plateau,

square Saint-Louis and the McGill Ghetto, local heritage tours.

32

LaSalle : desire to change the zoning on rue Édouard to permit the establishment of small

shops and cafés, creation of a public gathering area at the intersection of boulevard Lasalle

and rue Édouard, improvement of Des Rapides Park and presentation of historic and natural

heritage.

Île-Bizard–Sainte-Geneviève : the Sainte-Geneviève village pole, the Salle Pauline-Julien

hub with plans to build an exhibition space and Gérald-Godin College. Desire to create an

event and broaden the range of services available on boulevard Gouin.

Montréal-Nord : the cultural and community house sector, the library and surrounding

parks. Desire to develop projects that serve as bridges between different cultures and that

encourage activities by amateur artists. Revitalization of rue Charleroi with an increased

cultural presence.

Outremont : the sector around the Outremont Theatre, Saint-Viateur, plus the archives and

the pole international des arts de la marionnette, improvement of the Outremont/Mile-End

area Saint-Viateur and Bernard, followed by development of Outremont/Parc-Extension in

conjunction with the Outremont Campus. Simultaneously, presentation of tree and archi-

tectural heritage, the arboretum and the McFarlane House in Joyce Park.

4.3.2 “PLANNED” CULTURAL QUARTERS

“Planned” cultural quarters make up the second category. Such areas already have some cultural

facilities, services and activities, but require longer-term investments or efforts for which a variety of

functions must be developed. These are a few examples:

Ahuntsic–Cartierville : the Chabanel sectors and the search for a new function for many

vacant premises. The sector’s regeneration is built around the creative design and fashion

industries.

Anjou : the civic and cultural centre surrounding Jean-Corbeil library, the desire to create

a cultural performance facility, to create a public square and to install a work of public art.

Côte-des-Neiges–Notre-Dame-de-Grâce : redirection of a section of rue Sherbrooke to

pass by the Benny site, which is to include a library, a cultural centre and a sports centre.

Creation of a new path in Notre-Dame-de-Grâce Park offering various services (small

booths, cafés and performance space).

33

Pierrefonds–Roxboro : the civic and

cultural pole near Pierrefonds library.

Desire to acquire a cultural performance

facility, organize events and install

public artwork.

Rivière - des- Prairies– Pointe -aux-

Trembles : adoption of a special urban

plan for the Old Pointe-aux-Trembles

sector that will feature the mill, a future

public square, an urban events area,

historical and architectural heritage, the

river shoreline, a cultural recreation pole

and a local archives pole.

34

Rosemont–La-Petite-Patrie : site of the former Angus factories, including Jean-Duceppe

Park, a work of public art, Locomotives Park (historic site of importance in Montréal’s devel-

opment), the Molson–Beaubien and De Lorimier–Saint-Zotique hub (local movie theatre,

the Molson Park pergola, shops selling fine and local agricultural products, Mousse-Café

exhibitions, Petite-Patrie library), promenade Masson, the Gabrielle-et-Marcel-Lapalme

pole and the Iberville sector, Metro Rosemont sector and its Marc-Favreau library.

Saint-Laurent : the Cégep Saint-Laurent College and Georges-Vanier College sector, Old

Saint-Laurent, highlighting the church, the Musée des maîtres et artisans cultural heritage

museum, the performance space and the library.

Saint-Léonard : the civic and cultural pole, including the town hall, the library and the

Léonardo da Vinci centre, creation of a multipurpose area in Wilfrid-Bastien Park, construc-

tion of a multipurpose performance hall (150 to 200 people) for cultural bridge-building

projects and activities for amateur artists and creation of an exhibition centre.

Verdun : the circus arts hub, conversion of Studio B into a performance space for the

performing and the circus arts, enhancing the Verdun Auditorium’s role, opening Saint-

Dizier House, development of cultural activities on rue Wellington and the development of

a waterside promenade.

V i l l e r a y – S a i n t - M i c h e l – P a r c -

Extension : the area around Place de

la Gare Jean-Talon in Parc-Extension,

around the octagonal park in Saint-

Michel by the Petit Maghreb, with it

library, a community centre, a piece

of public artwork, a secondary school

specializing in music and a forthcoming

bandstand.

The sectors designated by the boroughs,

which were only mentioned during one consul-

tation session, are simply given as example.

This effort is of course intended to launch a

discussion on the cultural quarter concept and

on sectors with short, medium and long-term

potential for the development of cultural activ-

ities. Further consideration could yield more

specific designations.

35

The cultural quarter concept will be further defined in line with the thinking and efforts of concerned parties and their desire to work together to strengthen and develop such sectors in Montréal.

These ideas clearly express the multifaceted nature of this project, which incorporates elements

from many fields. The cultural quarter concept will be further defined in line with the thinking

and efforts of concerned parties and their desire to work together to strengthen and develop

such sectors in Montréal. The cultural quarter concept suggested at these meetings has helped

the corporate departments, boroughs and partners designate such quarters, while building on

these definitions based on local situations.

Culture Montréal, a partner of the 2007-2017—Montréal Cultural Metropolis Action Plan, is seeking

to develop a metropolis that is home to all is residents and that is firmly rooted in its local neighbour-

hoods. After consulting with its members, this organization recently proposed the following defini-

tion of a cultural quarter: [TRANSLATION] “A lively environment in which the presence of arts and

culture is recognized as a key factor in the healthy development of local communities, particularly in

terms of a sense of community, economic vitality, relationships between individuals, quality of life,

etc.” We subscribe to this definition, which sees the cultural quarter as a multifaceted urban system.

4.5 NEEDS AND EXPECTATIONS

In early 2010, as previously noted, we initiated consultations with the corporate departments, the

boroughs and certain partners that had already given their opinions on cultural quarters or poles.

We also studied papers that had been submitted since 2005 to the Office de consultation publique

de Montréal or to City Council committees on various culture and heritage projects. Organizations

that had offered their opinions on these topics generally worked in arts, culture or heritage, but

other parties also shared their ideas. This was the case, for example, with economic development

and community development associations, commercial development organizations, historical and

heritage societies, educational institutions and occasionally scientific organizations. We met with

several of these groups. Our 2009-2011 meeting schedule appears in the Appendix.

4.4 THE CULTURAL QUARTER CONCEPT FOR MONTRÉAL

The cultural quarter concept has become more complete and better defined in the course of our

discussions with such parties as the corporate departments, the boroughs and our social and pro-

fessional organization partners. Based on their ideas, a Montréal cultural quarter should meet all of

the following criteria:

[TRANSLATIONS]

«“A safe, accessible and high-quality living space.”

“A lively, animated village square encouraging social interaction.”

“A venue offering a variety of activities, attractions and community-based cultural

services.”

“A distinctive area that builds on its strengths and highlights local life.”

“A place that brings together and enhances sites promoting cultural education, creation,

production and dissemination.”

“A venue that offers cultural services and activities.”

“A location with conditions suitable for the development and maintenance of creative

forums.”

“A space featuring active professionals and the up-and-coming generation.”

“A locale promoting the cultural involvement of residents, through such means as cultural

bridge building.”

“A venue developed in line with local cultural development policies.”

“A green area that complies with principles of sustainable development and of

Agenda 21 for Culture.”

“A region that is in line with urban planning and cultural urbanism efforts.”

“A sector that features local history and heritage.”

“An innovative space that promotes new technologies.”

“A venue with a unique design and branding.”

“An attractive locale that offers a unique urban experience.”

“A sector that acts as a powerful magnet for tourists.”

“An area that contributes to Montréal’s cultural, tourist and economic development.”

36

4.5.3 PARTNERS

The questions and concerns of the social and professional organization partners we consulted per-

tained in many cases to creating networks among local stakeholders and resources and improving

links between municipal bodies and cultural organizations:

Promoting closer ties and the creation of networks among different cultural quarters and

local stakeholders; forging bonds between partners and boroughs.

Linking culture with urban planning.

Developing venues for cultural dissemination and creation and artist workshops; the

creation of meeting places is also essential.

Promoting better use of public spaces.

Increasing the number of municipal initiatives and activities and obtaining financial

support to implement them, providing support and encouragement in project

development.

Expanding the concept of culture; acknowledging the cultural roles played by

academia, commercial development associations, scientific associations and community

organizations.

Developing a comprehensive strategy for action, while respecting the autonomy of each party.

Formulating a 20-year timeline for Montréal’s cultural development that will be shared

by the corporate departments, the boroughs and partners from social and professional

organizations.

We generally observed during our meetings that participants view the Cultural Quarters project

as broad-based, inclusive and decentralized. They were receptive to this effort. The expressed a

desire to work together and forge partnerships to develop the project, each with its own short-,

medium- or long-term interests.

These meetings also pinpointed the specific needs and expectations of the boroughs and

partners. Their needs and requests have, for purposes of study, been group in four major catego-

ries: event promotion and organization of cultural quarters, planning programs and transportation,

capital investments and management and coordination.

4.5.1 CORPORATE DEPARTMENTS

The corporate departments proposed such strategies as the following to develop cultural quarters:

Build on existing assets and make significant efforts to promote Montréal’s cultural and

urban development.

Make the Urban Plan central to the development of cultural quarters.

Consider issues of planning, security and quality of life, while including principles of

culture and design in the construction, creation and redesign of public spaces.

Consider the importance of emerging culture and the next generation.

Base the cultural quarter concept on resident cultural involvement.

Emphasize the roles of libraries and municipal cultural venues in the community;

promote networking among such entities and partnerships with other stakeholders.

Make the Cultural Quarters project part of the city’s sustainable development efforts

and of its Agenda 21 for Culture implementation process.

Develop tools to support the boroughs in the planning and development of their future

cultural quarters.

4.5.2 BOROUGHS

Borough requests and proposals pertain primarily to the structural needs and development of

future cultural quarters:

Develop future cultural quarters in line with local circumstances and the characteristics

and requirements of local residents.

Create and install public spaces and gathering areas.

Build on existing facilities and develop additional venues for cultural creation and

dissemination.

Develop cultural tours.

Present heritage in all its forms.

Formulate a municipal cultural signage concept.

Launch more cultural bridge building projects and efforts to encourage artistic activity

by amateurs.

Ensure that the cultural offerings of the different boroughs complement each other.

Provide recurring funding for cultural quarter projects and make a meaningful long-term

financial effort.

Adopt a local cultural action plan.

37

The following section will consider each of

these categories and its accompanying expec-

tations in detail. It will also propose areas for

further study.

38

5AREAS FOR FURTHER STUDY

39

We shall now discuss the four major categories in which we have grouped the findings, expecta-

tions and areas for further study that we recommend: event promotion and organization, planning

programs and transportation, capital investments and management and operations.

5.2 EVENT PROMOTION AND ORGANIZATION

Event promotion and organization for cultural quarters is a matter of constant concern. Most expec-

tations expressed by the boroughs fall into that category. What factors will breathe life into cultural

quarters and what will highlight their roles? The most frequent responses are tangible and intan-

gible heritage, cultural tours, community-based commercial activity, festivals and events, culture

bridge building and amateur artistic activities.

5.2.1 SPOTLIGHTING HISTORY AND HERITAGE

One of a borough’s prime resources is often heritage, whether of the natural, tangible cultural or

intangible cultural variety. Each quarter has its own history, commemorative sites or remarkable

landscapes that, borough representatives say, could receive greater attention. Commemoration

is, for example, an excellent means of making a community’s cultural history known. By naming its

library after Saul Bellow, Lachine deftly drew attention to this great writer’s origins.

How can we produce an enhanced collective effort to emphasize history and heritage

that will in particular help develop a sense of identity, belonging and pride in the cultural

quarters and the boroughs?

How can we make the public aware of the great wealth of built and historic heritage in

existing and future cultural quarters? How can we compensate for this lack of knowledge

or recognition of local heritage?

Following the research and consultation process, various areas for further study and perspectives

have emerged with respect to formulating means for consolidating and developing cultural quarters.

5.1 LOCAL CULTURAL ACTIVITIES

Before planning or developing cultural quarters, stakeholders should devote more study to

three topics:

The opportunity for the borough to adopt a local cultural action plan, in conjunction with local partner organizations, that can include intentions to develop one or more cultural quarters44.

The opportunity for the borough to include the one or designated “cultural quarter” sectors in the local version of the urban plan and to subsequently adapt regulations (posters, zoning, occupancy permits, use of public land, artist workshops, etc.) pertaining to these sectors in lines with cultural development and planning goals.

The possibility of creating a multidisciplinary team within the corporate departments to support the boroughs in their coordination and planning processes.

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

40

5.2.4 FESTIVALS AND EVENTS

Festivals and events are also key ingredients in enlivening and promoting cultural quarters. Despite

the major borough role such activities, the fact that they are often concentrated in the downtown

core frequently a topic of criticism. Lachine’s Festival de Théâtre de rue and Ahuntsic’s FestiBlues

are two well-known festivals that build on their community’s atmosphere. Similarly, the Montréal

Complètement Cirque festival is often mentioned as a successful example of decentralizing festi-

val activities among multiple communities. The boroughs and partners have also underscored the

importance of supporting the maintenance and creation of festivals and events that celebrate the

cultural diversity of Montréal’s neighbourhoods.

How can we encourage the organization of existing or future festivals and events in cul-

tural quarters?

How can we expand the reputation of such activities throughout Montréal?

5.2.5 BUILDING CULTURAL BRIDGES

AND AMATEUR ARTISTIC ACTIVITIES

Many of the partners and boroughs we asked

said that cultural involvement is central to the

cultural quarter concept. How indeed can we

conceive of a community’s cultural development

without the participation of its residents? That

is why we support building cultural bridges

that reach out to those least likely to take part

in cultural activities and that promote resident

involvement. When we build cultural bridges,

residents take an active interest in culture,

5.2.2 CULTURAL TOURS

The boroughs and their partners have found

that cultural tours are an excellent means of

spotlighting and presenting a community.

Different types of visits are possible and have

been suggested, including audio tours, guided

tours, tours with interpretive signs, tours em-

ploying new technologies and so forth. Certain

borough historical associations are very active

in organizing heritage tours. L’Autre Montréal

also organizes guided tours that are generally

occasional, organized on demand and pertain

to difference local topics of interest (public art-

work, architecture, community strengths, etc.).

Whatever the kind of tour, a key issue is its sus-

tainability.

How can local cultural tours be supported

and developed not just on an occasional,

but a continuous basis, to ensure their

viability?

5.2.3 COMMERCIAL ACTIVITY

The commercial activity of a cultural quarter is a

topic that repeatedly arose during our consulta-

tions. Most participants at these sessions felt that cultural quarters serve a variety of purposes. A

unique and broad-based activity is fundamental to a community’s life and image. Commercial quar-

ters are often considered to neighbourhood’s backbone. They not only contain gathering places,

but some merchants’ associations organize or support cultural events and activities that have be-

come increasingly frequent and are becoming better known within Montréal’s cultural scene. A

few examples include the Nuit blanche sur tableau noir event on avenue du Mont Royal, Mix’Arts

on boulevard Saint-Laurent, and the Montréal en arts in the Village. These events help animate and

promote a quarter, boosting personal identification with it and increasing support to Montréal’s

artists. Local businesses, such as restaurants, cafés, bistros and bars often encourage the kinds of

meetings, interchanges and network that underpin the creation and enrichment of a community’s

“social capital.”

How can we promote greater participation of commercial development associations and

of merchants themselves in the growth of cultural quarters?

41

5.3 PLANNING PROGRAMS AND TRANSPORTATION

Six main questions were raised during the consultation sessions with respect to planning programs

for cultural quarters and both external and internal transportation to serve such hubs.

5.3.1 PUBLIC SPACES: PARKS, SQUARES, STREETS AND PEDESTRIAN CORRIDORS

The maintenance and creation of public spaces (squares, streets and good local parts in which peo-

ple can meet each other, engage in festivities and participate in or attend cultural events) is of great

importance. For example, there is the new Place Valois, the summertime conversion of a segment

of rue Sainte-Catherine Est to pedestrian use, open-air markets, etc. Along the same lines, partners

have supported the presence of nature in the city, its preservation and enhancement in the bor-

oughs and ultimately the increased importance of pairing nature and culture. The Sault-au-Récollet

sector of Ahuntsic–Cartierville borough offers an excellent example of nature alongside historical

and architectural heritage. Green spaces like Molson Park, the large La Fontaine Park, its Théâtre de

Verdure and new restaurant, just like Promenade Bellerive, play important roles by hosting cultural

activities and public artwork, while providing space for leisure activities and entertainment.

How can we plan for and enhance universally accessible public spaces (squares, parks

and streets) during their development or redevelopment that will give people a stronger

sense of identification with their neighbourhoods?

How can we support events for these public spaces and offer a wide range of services

(food, restrooms, playgrounds, public presentation and cultural events and street

furniture)?

How can we promote best practices in the design and development of these public spaces?

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

particularly with respect to introductory art activities, amateur art workshops and meetings or discus-

sions with artists at libraries and other cultural venues.

How can we encourage a maximum number of residents to take part in and thereby enrich

the cultural development of their communities?

How can we organize activities to build bridges among cultures that will help residents

develop a creative view of their neighbourhoods?

42

5.3.4 LIGHTING

Strong interest exists in illuminating cultural spaces and heritage or other important structures. Old

Montréal and the Quartier des spectacles are currently the only sectors with lighting plans.

Could a lighting plan be gradually implemented throughout Montréal to spotlight certain

buildings and monuments of interest?

How should any priorities be established?

Should the illumination of buildings be prioritized in sectors subject to new development

or redevelopment projects?

5.3.5 ZONING AND REGULATIONS

Those with whom we met frequently mentioned the zoning and regulation of cultural quarters.

They raised many questions about bringing culture onboard construction projects, posters, artist

workshops and residences and noise. The issue of arts residences and workshops is two headed: it

involves questions of zoning and regulation, and also pertains to matters of capital investment and

operations. We shall propose possible strategies for the real-estate aspect in section 5.4.3.

Is it appropriate and feasible to deploy initiatives to include some 1% (or more) cultural

facilities or artwork in certain construction projects based in cultural quarters as well as in

major projects, special construction projects, modification or occupancy of a building and

projects that require a development agreement?

How can we meet needs for free and cultural posting, particularly in future cultural

quarters?

How can we all more proactively enable and facilitate the development of artist

workshops and residences?

5.3.2 STREET FURNITURE

Participants at the consultation sessions expressed the importance of good street furniture.

Should the street furniture used in cultural quarters be distinctive and help give them a

particular branding and signature?

5.3.3 CULTURAL SIGNAGE

The individuals and organizations with which we met throughout Montréal frequently expressed

their concerns about cultural signage. Can we always recognize, identify and easily locate existing

cultural sites? Those with whom we spoke said that the cultural signage issue should be resolved as

quickly as possible. They also said that the city administration should work with the boroughs and

with cultural and tourist organization partners to formulate a cultural signage action plan.45

What assessment should be made of existing cultural signage tools?

What are the top priorities for work to arrive as a satisfactory solution?

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

43

Public libraries are engaged in a major 10-year renovation, expansion and construction

program. How can ensure optimal local ripple effects of these public investments?

The Forum des équipements culturels can provide funding for the renovation, expansion

and construction of cultural centres (réseau Accès culture). How can ensure optimal local

ripple effects of these public investments?46

Should special attention be paid to planned public and private cultural facilities in future

cultural quarters?

Many boroughs’ cultural quarters are often linked to municipal facilities that are firmly rooted in the community and that promote access by all residents to cultural activities.

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

5.3.6 ACTIVE TRANSPORTATION

AND QUALITY OF LIFE

Transportation issues are subjects of great con-

cern, particularly in terms of transportation to

and transportation within the borough and the

cultural quarter. Boroughs furthest from down-

town Montréal have also expressed the desire

to have access to the BIXI network. Many other

factors pertaining to planning programs and

transportation were raised, including the role

assigned to pedestrians, bike paths and security.

How can active and secure transporta-

tion be ensured in future cultural quarters? Should future cultural quarters be considered

in planning the bike path system and in expansion of the BIXI network?

Real cooperation already exists between the public transit and cultural sectors, but how

can it be bolstered?

5.4 CAPITAL INVESTMENTS

Three forms of capital investment are of particular interest: public and private cultural facilities,

public artwork and artist residences and workshops.

5.4.1 PUBLIC AND PRIVATE CULTURAL FACILITIES

Many boroughs’ cultural quarters are often linked to municipal facilities that are firmly rooted in the

community and that promote access by all residents to cultural activities. These facilities include

libraries, municipal cultural venues in the Accès culture network, a cultural or recreational commu-

nity centre or a municipal museum. Cultural and heritage activities (in all forms) are more diversified

in some boroughs. Private cultural facilities, such as movie theatres, bookstores and art galleries

that are often firmly established in a community or a local cultural venue supplement public cul-

tural spaces, particularly in the case of outlying boroughs and those located far from downtown

Montréal. Many accordingly feel that this civic, cultural or village centre is the cultural sector to be

enhanced and developed.

44

5.4.3 ARTIST WORKSHOPS AND RESIDENCES

Several boroughs and partners have expressed an urgent need to take action on the issue of art-

ist residences and workshops. Ville-Marie’s Quartier des spectacles must deal with this issue, just

like certain outlying boroughs. Many artists in Sud-Ouest and Plateau–Mont Royal are departing,

for example, because of the paucity of workshops that are affordable or meet existing regulations.

Two court cases under this heading were Grover47 in Ville-Marie and more recently 5555, avenue

de Gaspé48 in Plateau-Mont Royal. As we mentioned in section 5.3.5, the issue of artist workshops

must be considered from the perspective of regulations and real-estate. The acquisition of build-

ings to install artist workshops could be a solution that would ensure the survival of this function in

a cultural quarter. Strategies have previously been proposes, particularly by the CDEC Pole-Sud/

Plateau–Munt Royal49 and by Culture Montréal.50 This issue appears among the commitments of

Montréal’s Cultural Development Policy,51 the 2007-2017 Montréal Cultural Metropolis action plan

and Montréal’s Economic Development Strategy.52

A proactive approach must be adopted in view of the importance of this matter to the vital-

ity of several cultural quarters and to Montréal’s development as a cultural metropolis.

In view of the strategic artistic, cultural and economic importance, how can workshops

for artists and artists be enhanced and developed throughout Montréal?

5.5 MANAGEMENT AND COORDINATION

Various parties have emphasized the importance of providing daily management and coordination

services to future Montréal cultural quarters. In view of local dynamics and stakeholders present

in each borough, it seems certain that cultural quarter management models will be designed on a

case-by-case basis and will vary not only from one borough to the next, but within different quarters

of the same borough.

How can we maintain cultural quarters over the long term?

What management models seem to be most appropriate?

47 ville.montreal.qc.ca/commissions

48 leplateau.com

49 cdec-cspmr.org/memoiresculture

50 culturemontreal.ca/en/publications/-1/page-1/

51 Montréal (2005). Politique de développement culturel 2005-2015, p.76-77

52 sdemontreal.com

5.4.2 PUBLIC ART

Participants in our consultation sessions repeatedly mentioned the importance of permanent public

artwork and temporary installations within the local cultural and artistic scene. One example of the

importance given to public art: is the Pôle de création des Faubourgs, which wants to install a major

work of public art serving as a symbol that will enhance the identification of residents with their

community and make it stand out from the rest of Montréal. Several boroughs and partners feel that

public artwork is a crucial component of future cultural quarters. Several boroughs, incidentally,

contain little public artwork.

How can we enrich the art scene of cultural quarters by installing public artwork?

What role should residents and businesses play in selecting and installing such work?

How can new attention to cultural quarters be used to publicize municipal and private

public art collection and improve support to existing initiatives (such as murals)?

One example of the importance given to public art: is the Pôle de création des Faubourgs, which wants to install a major work of public art serving as a symbol that will enhance the identification of residents with their community and make it stand out from the rest of Montréal.

45

46

6CONCLUSION

47

At one time described as “the city of 100 church bells” and at another as a “pastiche of miniature

homelands,” Montréal now consists of 19 boroughs and a multitude of local neighbourhoods, each

as rich and distinctive as the next. As described above, the Cultural Quarters project seeks to facili-

tate the discovery and showcasing of these often little-known treasures.

Following adoption of its Cultural Development Policy and the 2007-2017 Montréal Cultural

Metropolis Action Plan, the city has been working, in conjunction with its cultural partners, the

higher levels of government and businesses, toward increased access to and the enrichment and

development of culture.

Plans are already in the works to enhance and boost the renown of the historic borough of Old

Montréal, the Quartier des spectacles, the historic and natural borough of Mont Royal, as well as

specialized hubs such as the Cité des arts du cirque and the Espace pour la vie.

The cultural quarter is a concept that can be adopted and adapted throughout Montréal based

on local needs for cultural development and urban planning. The areas for further study that we

propose in this document are specifically geared to stimulate the broadest possible dialogue on

what we want to be cultural quarters, along with actions to support their creation or development.

This discussion occurred at the same time as work is beginning on the future Montréal Development

Plan, which will guide our efforts in terms of urban planning and development. It also arises out of

the city’s endorsement of the commitments and principles of Agenda 21 for Culture, which shall now

inspire our endeavours.

The fall of 2012 will constitute the midway point of the 2007-2017 Action Plan. Working to enhance

and develop cultural quarters is a promising project for initiating the second half of this decade of

cultural development. Making this project a reality will also be an original, enduring and democratic

manner of celebrating our city’s 375th birthday in 2017!

48

7BIBLIOGRAPHY AND APPENDIX

49

VILLE DE MONTRÉAL. 2011 Budget, S.d. [online]. [ville.montreal.qc.ca/pls/portal/docs/page/service_fin_fr/media/documents/00-budget-2011.pdf]. (December 2010)

VILLE DE MONTRÉAL. Heritage Policy, S.d. [online]. [www2.ville.montreal.qc.ca/patrimoine/doc_enonce/politique.pdf]. (November 2010)

VILLE DE MONTRÉAL. Social Development, S.d. [online]. [ville.montreal.qc.ca/portal/page?_pageid=2239,2891961&_dad=portal&_schema=PORTAL]. (September 2009)

VILLE DE MONTRÉAL. Public Libraries, S.d. [online]. [ville.montreal.qc.ca/portal/page?_dad=portal&_pageid=4276,5490426&_schema=PORTAL]. (October 2010)

VILLE DE MONTRÉAL. Accès culture. 2010. [online]. [www.accesculture.com/contenu/plan]. (November 2010)

VILLE DE MONTRÉAL. L’art public à Montréal. S.d. [online]. [ville.montreal.qc.ca/portal/page?_pageid=678,1154647&_dad=portal&_schema=PORTAL]. (November 2010)

VILLE DE MONTRÉAL. Montréal UNESCO City of Design. S.d. [online]. [mtlunescodesign.com/]. (November 2010)

VILLE DE MONTRÉAL. 2008 Family Policy. S.d. on line. [online]. [ville.montreal.qc.ca/pls/portal/docs/PAGE/CONTENUS_PARTAGES_FR/VIE_MONTREAL/MEDIA/DOCUMENTS/Politique_familiale_9June_fr_final.pdf]. (November 2010)

VILLE DE MONTRÉAL. Transportation Plan. S.d. [online]. [ville.montreal.qc.ca/portal/page?_dad=portal&_pageid=5957,40443575&_schema=PORTAL]. (November 2010)

VILLE DE MONTRÉAL. 2011-2017 Economic Development Strategy. S.d. [online]. [www.sdemontreal.com/fr]. (June 2011)

VILLE DE MONTRÉAL. Accueil. S.d. [online]. [www.montreal2025.com/]. (January 2010)

VILLE DE MONTRÉAL. Policy on the Protection and Enhancement of Natural Habitats. S.d. [online]. [ville.montreal.qc.ca/pls/portal/docs/page/nature_en_ville_en/media/documents/ppmnang060123.pdf]. (November 2010)

VILLE DE MONTRÉAL. 2007-2008 Review of the Policy on the Protection and Enhancement of Natural Habitats. S.d. [online]. [ville.montreal.qc.ca/pls/portal/docs/page/nature_en_ville_fr/media/documents/Bilan_2007-2008.pdf]. (November 2010)

VILLE DE MONTRÉAL. Tree Policy. S.d. [online]. [ville.montreal.qc.ca/portal/page?_pageid=174,247620&_dad=portal&_schema=PORTAL]. (November 2010)

VILLE DE MONTRÉAL. Agenda 21 for Culture. S.d. [online]. [ville.montreal.qc.ca/portal/page?_pageid=1576,4115942&_dad=portal&_schema=PORTAL]. (October 2010)

VILLE DE MONTRÉAL. 2010-2015 Montréal Community Sustainable Development Plan. S.d. [online]. [ville.montreal.qc.ca/portal/page?_pageid=7017,70363581&_dad=portal&_schema=PORTAL]. (October 2010)

VILLE DE MONTRÉAL. Usine Grover: Benoît Labonté s’engage. 2006. [online]. [ville.montreal.qc.ca/portal/page?_pageid=5798,42657625&_dad=portal&_schema=PORTAL&id=4810&ret=ville.montreal.qc.ca/pls/portal/url/page/prt_vdm_fr/rep_annonces_ville/rep_communiques/communiques]. (November 2010)

Vivant, E. (2009). Qu’est-ce que la ville créative? Paris, PUF, coll. « La ville en débat ». 92 p.

BIBLIOGRAPHY

CDEC CENTRE-SUD/PLATEAU-MONT-ROYAL. Mémoires culture. S.d. [online]. [www.cdec-cspmr.org/memoiresculture]. (November 2010)

CULTURE MONTRÉAL. 2010. Cadre d’intervention sur les ateliers d’artistes à Montréal. [online]. [www.culturemontreal.ca/fr/publications/details/273/]. (June 2010)

Daniel Arbour & Associés (2005). Rapport d’étude sur les pôles culturels, Daniel Arbour & Associé and Ville de Montréal, Montréal, 20 pp.

EUROPA. Capitale européenne de la culture, 2006, [online]. [europa.eu/legislation_summaries/other/l29005_fr.htm]. (November 2010)

GOUVERNEMENT DU QUÉBEC. Charter of Ville de Montréal, 2010, [online]. [http://www2.publicationsduquebec.gouv.qc.ca/dynamicSearch/telecharge.php?type=2&file=/C_11_4/C11_4_A.html]. (November 2010)

GOUVERNEMENT DU QUÉBEC. Cities and Towns Act, 2010, [online]. [www2.publicationsduquebec.gouv.qc.ca/dynamicSearch/telecharge.php?type=2&file=/C_19/C19_A.html]. (November 2010)

John Montgomery. Cultural Quarters as Mechanisms for Urban Regeneration, 2003, [online]. [halliejones.com/Resources/CulturalQuarters.pdf]. (November 2009)

LAVANGA, MARIANGELA. The contribution of cultural and creative industries to a more sustainable urban development, S.d, [online]. [www.fokus.or.at/fileadmin/fokus/user/downloads/acei_paper/lavanga.pdf]. (November 2010)

LE PLATEAU. 70 locataires à la rue. S.d. [online]. [http://www.leplateau.com/Actualites/Vos-nouvelles/2010-07-13/article-1552129/70-locataires-a-la-rue/1]. (July 2010)

MINISTÈRE DE LA CULTURE, DES COMMUNICATIONS ET DE LA CONDITION FÉMININE. Agenda 21 de la culture aujourd’hui demain. 2010. [en ligne]. [http://www.agenda21c.gouv.qc.ca/evenements/adoption-de-la-declaration-mondiale-de-cglu-sur-la-culture-comme-4e-pilier-du-developpement-durable/]. (November 2010).

OFFICE DE CONSULTATION PUBLIQUE DE MONTRÉAL. Montréal Cultural Development Policy, 2010, [online]. [www.ocpm.qc.ca/consultations-publiques/politique-de-developpement-culturel-pour-la-ville-de-montreal]. (November 2010)

PARTENARIAT DU QUARTIER DES SPECTACLES. Quartier des spectacles, 2010, [online]. [www.quartierdesspectacles.com/fr/accueil/]. (June 2009)

PÔLE DE CRÉATION LES FAUBOURGS. Pôle de création culturel, 2010, [online]. [www.lesfaubourgs.ca/PBCPPlayer.asp?ID=477267]. (September 2010)

Roodhouse, S. (2006). Cultural quarters, principles and practices, United Kingdom: Intellect Books, 149 p.

TOURISME MONTRÉAL. Développement du tourisme culturel à Montréal. S.d. [online]. [docs.tourisme-montreal.org/doc/tourisme-montreal/planstrat_vp_final/2010080201/]. (September 2010)

UNITED NATIONS EDUCATIONAL, SCIENTIFIC AND CULTURAL ORGANIZATION. Mexico Declaration on Cultural Policies, 2006, [online]. [http://portal.unesco.org/culture/en/ev.php-URL_ID=12762&URL_DO=DO_TOPIC&URL_SECTION=201.html]. (June 2009)

Ville de Montréal (2005). Cultural Development Policy—Montréal, Cultural Metropolis 2005-2015, Montréal, 80 pp.

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

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P. 20 L’Entrepôt, arrondissement de Lachine © Ville de Montréal

Jules Lasalle, Monica, 1985, Promenade Père-Marquette, arrondissement de Lachine, Collection Ville de Montréal © Ville de Montréal

P. 21 Quartier des spectacles © Partenariat du Quartier des spectacles, Martine Doyon

Quartier des spectacles © Partenariat du Quartier des spectacles, Martine Doyon

P. 22 Aires libres sur la rue Saint-Catherine © Emma Buttin

P. 23 Casa del popolo © Véro b.

Journée internationale de la danse © Emma Buttin

P. 24 Arrondissement du Sud-Ouest © Ville de Montréal

P. 25 Bibliothèque, arrondissement d’Ahuntsic–Cartierville © Ville de Montréal

Maison de la culture de Côte-des-Neiges, arrondissement Côte-des-Neiges Notre- Dame-de-Grâce © Ville de Montréal

P. 26 Pierre Bourgault, Le Village imaginé, 2005, Parc Marguerite Bourgeoys, arrondissement du Sud-Ouest © Ville de Montréal

P. 27 Chat des artistes, Atelier 216 © Hélène Brown

Parc, arrondissement de Lachine © Ville de Montréal

P. 28 Couper-croiser © Mathieu Rivard

P. 29 Fête de quartier, arrondissement de Villeray–Saint-Michel–Parc-Extension © Ville de Montréal

P. 30 Parc-nature de l’Île-de-la-Visitation, arrondissement d’Ahuntsic–Cartierville © Ville de Montréal

Marché Côte-des-Neiges, arrondissement de Côte-des-Neiges–Notre-Dame-de-Grâce © Ville de Montréal

Marché Atwater, arrondissement du Sud-Ouest © Ville de Montréal

Commerce boulevard Saint-Joseph, arrondissement de Lachine © Ville de Montréal

P. 31 Avenue Bernard et Théâtre Outremont, arrondissement d’Outremont © Emma Buttin

Cinéma Beaubien, arrondissement de Rosemont–La-Petite-Patrie © Geneviève Auclair

Vente de livres, arrondissement du Plateau–Mont-Royal © Ville de Montréal

Maison de la culture Frontenac, arrondissement de Ville-Marie © Ville de Montréal

Bibliothèque Maisonneuve, arrondissement de Mercier–Hochelaga-Maisonneuve © Ville de Montréal

Centre Jean-Marie Gauvreau, arrondissement de Villeray–Saint-Michel–Parc-Extension © Véronique Vallée

P. 32 Foule Festiblues, arrondissement d’Ahuntsic–Cartierville © Audrey Allard

Collège Saint-Laurent, arrondissement de Saint-Laurent © Ville de Montréal

Magie à Anjou, arrondissement d’Anjou © Ville de Montréal

P. 33 Maison culturelle et communautaire de Montréal-Nord, arrondissement de Montréal-Nord © Ville de Montréal

Moulin Fleming, arrondissement de Lasalle © Patrick Donovan

Théâtre Corona, rue Notre-Dame Ouest arrondissement du Sud-Ouest © Alecz Inca

Centre culturel de Pierrefonds, arrondissement de Pierrefonds–Roxboro © Louis Rachiele

APPENDIX

ACRONYMS USED

UCLG United Cities and Local Governments

DAA Daniel Arbour & Associés

MCCCF Ministère de la Culture, des Communication et de la Condition féminine

RAC (program) Rénovation, Agrandissement et Construction

UNESCO United Nations Educational, Scientific and Cultural Organization

PHOTO CREDITS

P. 5 Performance de Thierry Schickes à la maison de la culture Maisonneuve, Festival transatlantique / Quartiers danses, 2009 © Michel Pinault

P.7 Quartier des spectacles © Partenariat du Quartier des spectacles, Martine Doyon

Théâtre de Verdure © Ville de Montréal

Activité maison culturelle et communautaire de Montréal-Nord © Ville de Montréal

P. 8 Café Olimpico, Mile End © Emmanuel Milou

Patrick Coutu, Source, 2010, Collection Ville de Montréal © Michel Dubreuil

P. 9 Parc-nature de l’Île-de-la-Visitation © Ville de Montréal

Murale Plateau–Mont-Royal © Martin Ujlaki

Exposition photographique © Geneviève Auclair

Tam-tam sur le mont Royal © Emma Buttin

P. 11 Orchestre Métropolitain © Ville de Montréal

P. 12 Bibliothèque, arrondissement d’Ahuntsic–Cartierville © Ville de Montréal

P. 13 Guillaume Lachapelle, L’attente, 2009, Parc Belmont, arrondissement d’Ahuntsic – Cartierville, Collection Ville de Montréal © Ville de Montréal

Quand les designers s’affichent, 2007 © Bureau du design, Ville de Montréal

Impromptu à la TOHU © Emma Buttin

Théâtre La Roulotte, Pinocchio © Emma Buttin

P. 16 TOHU © Ville de Montréal

Jardin Botanique et Stade olympique © Ville de Montréal

P. 17 Café, arrondissement du Plateau–Mont-Royal © Ville de Montréal

Concerts Campbell dans au parc Ahuntsic © Ville de Montréal

P. 19 Temple bar © budgetplaces.com

Temple bar © Trish N.

Nouvo Saint-Roch © Guy St-Vincent

Nouvo Saint-Roch © Yvan Gagnon

51

2009-2011 CONSULTATION SCHEDULE

MUNICIPAL CORPORATE DEPARTMENTS

Conseil des arts de Montréal

Direction de la culture et du patrimoine

Direction de la diversité sociale

Direction des grands parcs et du verdissement

Direction du développement économique et urbain (et Bureau du design de Montréal)

Direction des transports

Direction des Muséums nature de Montréal

BOROUGHS

Ahuntsic-Cartierville

Anjou

Côte-des-Neiges–Notre-Dame-de-Grâce

Lachine

LaSalle

L’Île-Bizard–Sainte-Geneviève

Mercier–Hochelaga-Maisonneuve

Montréal-Nord

Pierrefonds–Roxboro

Rivière-des-Prairies–Pointe-aux-Trembles

Rosemont–La Petite-Patrie

Saint-Laurent

Saint-Léonard

Verdun

Ville-Marie

Villeray–St-Michel–Parc-Extension

Outremont

Plateau–Mont-Royal

Sud-Ouest

Façade Collège Gérald-Godin, arrondissement de L’Île-Bizard–Sainte-Geneviève© Ehran Holm

Lancement de la programmation, arrondissement de Rivière-des-Prairies–Pointe-aux-Trembles © Ville de Montréal

P. 34 Festival cirque, arrondissement de Verdun © École de cirque de Verdun

Centre Leonardo da Vinci, arrondissement de Saint-Léonard © Ville de Montréal

Semaine italienne, arrondissement de Rosemont–La-Petite-Patrie © Abdallah

Vue extérieure du Musée des maîtres et artisans du Québec, arrondissement de Saint-Laurent © Martin Lominy

P. 37 Promenade Wellington © Ville de Montréal

Nuit blanche sur Tableau Noir © Ville de Montréal

Art urbain © Ville de Montréal, Marie-Ève Bonneau

Marché Jean-Talon © Véronique Vallée

P. 39 Maison Saint-Gabriel © Pierre Guzzon

P. 40 Défilé de mode © Ville de Montréal

Circuit historique canal de Lachine © Ville de Montréal

L’artiste, l’œuvre, le citoyen, 2010, projet médiation culturelle © Ville de Montréal

P. 41 Jams de la place de la gare Jean-Talon, Projet hors les murs © Michel Pinault

Point de rencontre, une intervention de Giorgia Volpe au square Cabot, Dare-Dare © Ville de Montréal

Place Valois © Geneviève Auclair

P. 42 Lumière Vieux-Montréal © Photographe masqué

Abribus Langelier © Ville de Montréal

P. 43 Cyclistes canal Lachine © Ville de Montréal

Maison de la culture Villeray–Saint-Michel–Parc-Extension © Marie-Ève Bonneau

Théâtre Denise-Pelletier © Geneviève Auclair

P. 44 Chat des artistes, Atelier 216 © Hélène Brown

Lisette Lemieux, Regard sur le fleuve, 1992, Parc Stoney-Point, boulevard Saint-Joseph, arrondissement de Lachine, Collection Ville de Montréal © Ville de Montréal

P. 45 Coopérative Cercle carré © Emma Buttin

Les Bobards © Francis Mariani

Rue Jarry © Ville de Montréal

Sandra Lachance, Vieux Jeux, Art Souterrain, 2011 © Art Souterrain

P. 47 Semiconductor performing, where has the future gone at Mutek © Caroline Hayeur

Enfants © Ville de Montréal

K Design, Un arbre/un contrat, Paysages éphémères sur l’avenue du Mont-Royal, 2005

© Caroline Hayeur

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SOCIAL AND PROFESSIONAL ORGANIZATION PARTNERS:

Association des petits lieux d’art et de spectacles

Association des sociétés de développement commercial

CDEC Centre-Nord

CDEC Centre-Sud/Plateau–Mont-Royal

CDEC Rosemont

Concordia University

Conseil québécois des arts médiatiques

Conseil québécois de la musique

Corporation de développement de l’Est

Culture Montréal

Culture pour tous

École de technologie supérieure

Héritage Montréal

L’Autre Montréal

Le Vivier

McGill University

Regroupement économique et social du Sud-Ouest

Regroupement des artistes en arts visuels du Québec

Regroupement des centres d’artistes autogérés

Regroupement national des arts du cirque – En piste

Réseau indépendant des diffuseurs d’événements artistiques unis

Science pour tous

Société pour la promotion de la science et de la technologie

Société d’habitation et de développement de Montréal

Tourisme Montréal

Union des écrivains et écrivaines du Québec

Université de Montréal

Université du Québec à Montréal

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