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SOCIETY FOR THE STUDY OF ARCHITECTURE IN CANADA/SOCIETE POUR L'ETUDE DE L'ARCHITECTURE AU CANADA<br />
VOLUME/TOME 13 SEPTEMBER 1988 SEPTEMBRE NUMBER!NUMERO 3
Society <strong>for</strong> <strong>the</strong> Study <strong>of</strong><br />
Architecture <strong>in</strong> Canada<br />
President<br />
MarkFram<br />
221 Russell Hill Road, No. 302<br />
Toronto, Ontario, M4V ID<br />
Past President<br />
Douglas Frankl<strong>in</strong><br />
30 Renfrew Avenue<br />
Ottawa, Ontario, KlS 1Z5<br />
Vice-President<br />
Stuart Lazear<br />
National Capital Commission<br />
161 Laurier Avenue West<br />
Ottawa, Ontario, KIP 6J6<br />
Treasurer<br />
Julie Harris<br />
213 Cobourg Avenue<br />
Ottawa, Ontario, KIN 8H9<br />
Secretary<br />
Neil E<strong>in</strong>arson<br />
754 Mulvey Avenue<br />
W<strong>in</strong>nipeg, Manitoba, R3M 1H7<br />
Bullet<strong>in</strong> Editor<br />
Gordon Fulton<br />
Heritage Canada<br />
P.O. Box 1358, Stn. B<br />
Ottawa, Ontario, KIP 5R4<br />
Members-at-large (east to west)<br />
Charles Henley<br />
8 Battery Road<br />
St. John's, Newfoundland, AlA 1A4<br />
Richard Mack<strong>in</strong>non<br />
89 Cottage Road<br />
Sydney, Nova Scotia, BlP 2C9<br />
Dr. C. W. Eliot<br />
University <strong>of</strong> Pr<strong>in</strong>ce Edward Island<br />
550 University Avenue<br />
Charlottetown, Pr<strong>in</strong>ce Edward Island, CIA 4P3<br />
Allen Doiron<br />
Prov<strong>in</strong>cial Archives<br />
P.O. Box 6000<br />
Fredericton, New Brunswick, E3B 5Hl<br />
Howard Shubert<br />
Canadian Centre <strong>for</strong> Architecture<br />
1440 St. Ca<strong>the</strong>r<strong>in</strong>e Street W., 2nd floor<br />
Montreal, Quebec, H3G lRB<br />
Anne M. de Fort-Menares<br />
100 Quebec Avenue, Ste 608<br />
Toronto, Ontario, M6P 4B8<br />
Jim Johnson<br />
185 Waverley Street<br />
W<strong>in</strong>nipeg, Manitoba, R3M 3K4<br />
Frank Korvemaker<br />
Saskatchewan Parks, Recreation and Culture<br />
1942 Hamilton Street<br />
Reg<strong>in</strong>a, Saskatchewan, S4P 3V7<br />
Diana Kordan<br />
Historic Sites Service, Alberta Culture<br />
Old St. Stephen's College<br />
8820 112 Street<br />
Edmonton, Alberta, T6G 2P8<br />
Edward Mills<br />
701 - 1133 Melville Street<br />
Vancouver, British Columbia, V6E 4E5<br />
Don Lovell<br />
Public Works and Highways<br />
Government <strong>of</strong> Northwest Territories<br />
Yellowknife, Northwest Territories, XlA 2L9<br />
res. (416) 961-9956<br />
<strong>of</strong>fice (613) 237-1867<br />
res. 236-5395<br />
<strong>of</strong>fice (613) 239-5553<br />
res. 7414233<br />
<strong>of</strong>fice (819) 997-6648<br />
res. (613) 233-0932<br />
<strong>of</strong>fice (204) 9454390<br />
res. 284-8783 ·<br />
<strong>of</strong>fice (613) 237-1066<br />
(709) 765-5683<br />
<strong>of</strong>fice (902) 566-0400<br />
<strong>of</strong>fice (514) 871-1418<br />
res. 485-1542<br />
res. 769-6862<br />
<strong>of</strong>fice (204) 983-3088<br />
res. 452-0377<br />
<strong>of</strong>fice (306) 787-5875<br />
res. 586-1405<br />
<strong>of</strong>fice ( 403) 427-2022<br />
res. 431-2344<br />
<strong>of</strong>fice (604) 666-6317<br />
<strong>of</strong>fice (403) 873-7818<br />
ISSN No. 0228-0744<br />
Indexed <strong>in</strong> <strong>the</strong> Canadian Periodicals Index<br />
COVER: Evans St-Gelais et Femand Tremblay, Sa<strong>in</strong>t-Raphael, Jonquiere,<br />
Quebec 1959-1960. Nef (Photo: Claude Bergeron).<br />
Editor's Desk<br />
After more than five years <strong>of</strong> edit<strong>in</strong>g <strong>the</strong> Society <strong>for</strong> <strong>the</strong> Study <strong>of</strong> Architecture<br />
<strong>in</strong> Canada's Bullet<strong>in</strong>, Don Lovell has passed <strong>the</strong> editor's torch (or, more<br />
accurately, his stubby red pencil) to me. I have been a faithful reader <strong>of</strong> <strong>the</strong><br />
Bullet<strong>in</strong> <strong>for</strong> many years. I am now presented with <strong>the</strong> challenge <strong>of</strong> cont<strong>in</strong>u<strong>in</strong>g<br />
<strong>the</strong> always <strong>in</strong><strong>for</strong>mative, <strong>of</strong>ten enterta<strong>in</strong><strong>in</strong>g and occasionally provocative<br />
<strong>for</strong>mat developed by Don over <strong>the</strong> years. I hope I am up to <strong>the</strong> task. I'll count<br />
on you readers, <strong>the</strong> heart and soul <strong>of</strong> <strong>the</strong> SSAC, to keep me true to <strong>the</strong> course<br />
so ably set by Don.<br />
Lest you th<strong>in</strong>k old editors simply fade away, it is my pleasure to announce<br />
that Don Lovell will represent <strong>the</strong> Northwest Territories as a member-at-large<br />
<strong>for</strong> <strong>the</strong> SSAC. The new Board <strong>of</strong> Directors, elected <strong>in</strong> May <strong>in</strong> Vancouver, appears<br />
to <strong>the</strong> left <strong>of</strong> this column, along with <strong>the</strong> SSAC's members-at-large.<br />
For those <strong>in</strong>terested <strong>in</strong> <strong>the</strong> SSAC's excellent slide sets on <strong>the</strong> <strong>architecture</strong><br />
<strong>of</strong> Alberta or Manitoba, <strong>the</strong>se are now both available from:<br />
SSAC Executive Secretary<br />
P.O. Box 2302, Station D<br />
Ottawa, Ontario<br />
K1P5W5<br />
Gordon Fulton<br />
Membership fees are payable on 1 January 1989 at <strong>the</strong> follow<strong>in</strong>g rates:<br />
Student, $10.00; Individual/Family, $20.00; Organization/Corporation/Institution,<br />
$30.00; Patron, $20.00 (plus a donation <strong>of</strong> not less than<br />
$100.00). There is a surcharge <strong>of</strong> $5.00 <strong>for</strong> all <strong>for</strong>eign memberships.<br />
Contributions over and above membership fees are welcome, and are<br />
tax-deductible. Please make your cheque or money order payable to <strong>the</strong><br />
SSAC and send to Box 2302, Sation D, Ottawa, Ontario KlP 5W5.<br />
L'abonnement annuel est payable le premier janvier 1989 aux prix<br />
suivantes : etudiant, 10,00 $; <strong>in</strong>dividuelffamille, 20,00 $; organisationfsocietef<strong>in</strong>stitut,<br />
30,00 $; bienfacteur, 20,00 S (plus un don d'au<br />
mo<strong>in</strong>s 100,00 $). II y a des frais additionnels de 5,00 S pour les<br />
abonnements etrangers. Les contributions au dessus de l'abonnement<br />
annuel sont acceptees et deductible d'impilt. Veuillez s.v.p. faire le<br />
cheque ou mandai de poste payable a l'ordre de SEAC et envoyer a<br />
C.P. 2302, Succursale D, Ottawa (Ontario) KlP 5W5.<br />
BULLETIN<br />
Volume/Tome 13, Number/Numero 3<br />
QUEBEC ISSUE<br />
A Note from <strong>the</strong> Editors/Note des redacteurs<br />
Howard Shubert and/et Robert Lemire ....................................... 3<br />
Chateau Vaudreuil and its Architect Gaspard-Joseph<br />
Chaussegros de Lery<br />
by John Bland ............................................................................... 5<br />
Le Modernisme venu du Nord: les eglises du Saguenay<br />
Lac-St-Jean<br />
par Claude Bergeron ..................................................................... 9<br />
La Maison Ultramar: A Short Build<strong>in</strong>g<br />
by Donna McGee ....................................................................... 22<br />
SSAC Annual Meet<strong>in</strong>g/SEAC congres annuel, Montreal.... 25<br />
2 SSAC BULLETIN SEAC 3:88
A Note from <strong>the</strong> Editors<br />
Note des redacteurs<br />
We are happy to be br<strong>in</strong>g<strong>in</strong>g you this special issue <strong>of</strong> <strong>the</strong> Bullet<strong>in</strong><br />
devoted to Quebec <strong>architecture</strong> on <strong>the</strong> eve, as it were, <strong>of</strong> <strong>the</strong> com<strong>in</strong>g<br />
year's annual conference <strong>in</strong> Montreal. We hope that <strong>the</strong> articles that<br />
follow will whet <strong>the</strong> appetites <strong>of</strong> SSAC members and <strong>in</strong>duce <strong>the</strong>m to<br />
make <strong>the</strong> trip to Montreal next April.<br />
The conference promises to be special and excit<strong>in</strong>g <strong>for</strong> many<br />
reasons. First and <strong>for</strong>emost <strong>of</strong> <strong>the</strong>se is our collaboration with <strong>the</strong><br />
Society <strong>of</strong> Architectural Historians (SAH) who will be hold<strong>in</strong>g <strong>the</strong>ir<br />
annual conference simultaneously with our own at ano<strong>the</strong>r Montreal<br />
hotel. Registration <strong>for</strong> one conference automatically entitles you to<br />
attend <strong>the</strong> sessions <strong>of</strong> <strong>the</strong> o<strong>the</strong>r. SAH programmes will be <strong>in</strong>cluded<br />
<strong>in</strong> your registration packages to help you plan your day's events.<br />
Those with a particular <strong>in</strong>terest <strong>in</strong> preservation issues will want to<br />
attend <strong>the</strong> day-long colloquium scheduled <strong>for</strong> 12 April, immediately<br />
preced<strong>in</strong>g <strong>the</strong> SAH and SSAC conferences. Entitled "Infill Design<br />
and/or Facadism" this colloquium, sponsored jo<strong>in</strong>tly by <strong>the</strong> SSAC,<br />
SAH and Heritage Montreal, will consist <strong>of</strong> presentations by four<br />
speakers <strong>in</strong> <strong>the</strong> morn<strong>in</strong>g followed by an afternoon walk<strong>in</strong>g tour<br />
designed to illustrate <strong>the</strong> morn<strong>in</strong>g's <strong>the</strong>me <strong>in</strong> a local context. Fur<strong>the</strong>r<br />
details and registration <strong>in</strong><strong>for</strong>mation will follow.<br />
A prelim<strong>in</strong>ary schedule <strong>of</strong> <strong>the</strong> SSAC conference appears elsewhere<br />
<strong>in</strong> this issue but we want to highlight po<strong>in</strong>ts <strong>of</strong> particular <strong>in</strong>terest<br />
here. The Grand Hotel, site <strong>of</strong> this year's conference, should<br />
provide a congenial atmosphere <strong>for</strong> our meet<strong>in</strong>g. Special room rates<br />
will be <strong>in</strong> effect and you are encouraged to book early. The Friday<br />
night reception at <strong>the</strong> Canadian Centre <strong>for</strong> Architecture will be an<br />
event not to be missed. Participants will have <strong>the</strong> chance to meet with<br />
SSAC and SAH members, tour <strong>the</strong> CCA's premises, <strong>in</strong>clud<strong>in</strong>g <strong>the</strong><br />
renovated Shaughnessy House, and preview <strong>the</strong> CCA's <strong>in</strong>augural exhibitions.<br />
If all <strong>of</strong> this doesn't entice you to Montreal <strong>in</strong> April <strong>the</strong>n consider<br />
one f<strong>in</strong>al <strong>in</strong>ducement: it should be possible to visit two architectural<br />
landmarks <strong>in</strong> <strong>the</strong>ir full glory. We refer <strong>of</strong> course to <strong>the</strong> Montreal<br />
Forum, home <strong>of</strong> <strong>the</strong> Canadiens, and <strong>the</strong> Olympic stadium, host to <strong>the</strong><br />
Expos. Both teams should be <strong>in</strong> action dur<strong>in</strong>g our conference.<br />
This issue <strong>of</strong> <strong>the</strong> Bullet<strong>in</strong> features three articles that span<br />
chronologically <strong>the</strong> architectural history <strong>of</strong> Quebec. John Bland's<br />
piece on <strong>the</strong> Chateau Vaudreuil br<strong>in</strong>gs to life a long lost build<strong>in</strong>g.<br />
Through his admirable analysis <strong>of</strong> <strong>the</strong> draw<strong>in</strong>gs and his capable<br />
scholarship we ga<strong>in</strong> an understand<strong>in</strong>g <strong>of</strong> <strong>the</strong> design <strong>of</strong> this important<br />
eighteenth century build<strong>in</strong>g and catch a glimpse <strong>of</strong> it <strong>in</strong> action- from<br />
vestibule to privies. Pr<strong>of</strong>essor Bland also po<strong>in</strong>ts <strong>the</strong> way to a re-evaluation<br />
<strong>of</strong> <strong>the</strong> Chateau Vaudreuil's architect, Gaspard-Joseph Chaussegros<br />
de Lery.<br />
Claude Bergeron discusses <strong>the</strong> churches built dur<strong>in</strong>g 1955 - 1967<br />
<strong>in</strong> <strong>the</strong> Saguenay- Lac-Sa<strong>in</strong>t-Jean region <strong>of</strong> Nor<strong>the</strong>rn Quebec, churches<br />
which were radical departures from <strong>the</strong> traditional religious <strong>architecture</strong><br />
<strong>of</strong> <strong>the</strong> prov<strong>in</strong>ce. Their <strong>in</strong>ventive <strong>for</strong>ms, modern materials<br />
and white exteriors are strik<strong>in</strong>g when seen aga<strong>in</strong>st <strong>the</strong> crisp blue nor<strong>the</strong>rn<br />
sky <strong>of</strong> <strong>the</strong> area.<br />
En tant que rectacteurs en chef du Bullet<strong>in</strong>, nous sommes heureux<br />
de publier un numero special sur !'<strong>architecture</strong> quebecoise peu de<br />
temps avant le congres annuel de Ia S.E.A.C. qui aura lieu a Montreal.<br />
Nous esperons que les articles de ce numero aiguiseront Ia curiosite<br />
toujours <strong>in</strong>satiable de nos membres et qu'ils les <strong>in</strong>citeront a se rendre<br />
a Montreal en avril1989.<br />
Le congres promet d'etre extrement <strong>in</strong>teressant, et cela a plus d'un<br />
titre. Rappelons tout d'abbord notre etroite collaboration avec !'association<br />
america<strong>in</strong>e, Ia Society <strong>of</strong> Architectural Historians (SAH), dont<br />
le congres annuel aura lieu au meme moment que celui de Ia S.E.A.C.<br />
mais dans un autre hotel de Montreal. Le fait de s'<strong>in</strong>scrire a une des<br />
conferences de Ia S.E.A.C. donne automatiquement le droit d'assister<br />
a toute autre conference presentee par Ia SAH. Pour vous aider a<br />
planifier votre emploi du temps, nous avons ajoute aux <strong>for</strong>mulaires<br />
d'<strong>in</strong>scription le programme du congres de Ia SAH.<br />
Ceux qui s'<strong>in</strong>teressent tout particulierement a Ia conservation du<br />
patrimo<strong>in</strong>e, participeront au colloque d'une journee <strong>in</strong>titule «lnftll<br />
Design and/or Facadism» qui aura lieu le 12 avril, soit Ia veille des<br />
deux congres. Parra<strong>in</strong>e par Ia SAH, Ia S.E.A.C. et Heritage Montreal,<br />
le colloque comporte deux volets : en avant-midi, les participants entendront<br />
les quatre conferenciers <strong>in</strong>vites et en apres-midi, au cours<br />
d'une excursion a pied en ville ils decouvriront des exemples types en<br />
rapport avec les <strong>the</strong>mes abordes pendant Ia mat<strong>in</strong>ee. De plus amples<br />
details et des renseignements sur les modalites d'<strong>in</strong>scription suivront.<br />
Un programme prelirn<strong>in</strong>aire du procha<strong>in</strong> congres de Ia S.E.A.C.<br />
figure ailleurs dans ce numero mais nous aimerions souligner les<br />
po<strong>in</strong>ts susceptibles de vous <strong>in</strong>teresser tout particulierement. Cette<br />
annee, on a choisi le Grand Hotel comme siege du congres, un<br />
etablissement dont le cadre agreable se prete bien aux reunions. Si<br />
vous desirez obtenir des tarifs <strong>in</strong>teressants, vous etes prie( e) de<br />
reserver tot. La reception du vendredi soir, qui aura lieu au Centre<br />
Canadien d'Architecture, est un evenement a ne pas manquer. Vous<br />
aurez alors Ia chance de rencontrer des membres de Ia SAH et de Ia<br />
S.E.A.C.; vous pourrez visiter les nouveaux batiments du CCA et en<br />
plus, vous aurez un apen;u des expositions <strong>in</strong>augurates qui seront<br />
presentees le mois suivant.<br />
Si tout ce!a ne vous conva<strong>in</strong>c pas d'accourir a Montreal en avril<br />
procha<strong>in</strong>, alors, songez a cette autre possibilite que nous vous <strong>of</strong>frons<br />
de visiter deux celebres batiments montrealais : le Stade olympique,<br />
chef-lieu des Expos et le Forum, berceau de Ia legendaire equipe des<br />
Canadiens. Les Canadiens et les Expos devraient jouer pendant votre<br />
sejour.<br />
Le numero du Bullet<strong>in</strong> vous <strong>of</strong>fre ce mois-ci trois articles couvrant<br />
pour a<strong>in</strong>si dire l'histoire chronologique de !'<strong>architecture</strong> au Quebec.<br />
Le pr<strong>of</strong>esseur John Bland fait revivre pour nous le Chateau<br />
Vaudreuil, detroit depuis longtemps. Grace a une analyse penetrante<br />
des dess<strong>in</strong>s d'<strong>architecture</strong>, cet erudit nous fait comprendre toute Ia<br />
portee d'une des realisations majeures du XVIIIe siecle et imag<strong>in</strong>er<br />
le chateau de fond en comble, tel qu'il eta it alors. De plus, il <strong>in</strong>cite le<br />
lecteur a reconsiderer !'oeuvre de !'<strong>architecture</strong> du Chateau<br />
Vaudreuil, Gaspard-Joseph Chaussegros de Lery.<br />
3:88 SSAC BULLETIN SEAC 3
Pr<strong>of</strong>essor Bergeron's appraisal and enlightened analysis <strong>of</strong> <strong>the</strong>se<br />
remarkable structures takes <strong>in</strong>to account <strong>the</strong> major events l<strong>in</strong>ked to<br />
<strong>the</strong> area's economic, cultural and social development that shaped this<br />
brief period <strong>of</strong> unprecedented creativity. He looks back to Dom Paul<br />
Bellot as <strong>the</strong> <strong>in</strong>itiator <strong>of</strong> this era <strong>of</strong> <strong>in</strong>novative design <strong>in</strong> religious <strong>architecture</strong><br />
while <strong>in</strong>troduc<strong>in</strong>g such figures as Leonce Desgagne and<br />
Paul-Marie Cote, designers <strong>of</strong> many <strong>of</strong> <strong>the</strong> significant monuments that<br />
are discussed and illustrated.<br />
F<strong>in</strong>ally, Donna McGee takes us <strong>in</strong>to <strong>the</strong> future with her review <strong>of</strong><br />
<strong>the</strong> proposed design <strong>for</strong> <strong>the</strong> head <strong>of</strong>fices <strong>of</strong> Ultramar. In exam<strong>in</strong><strong>in</strong>g<br />
this project's complex site and its relationship to exist<strong>in</strong>g structures,<br />
Ms. McGee applauds Ultramar <strong>for</strong> <strong>the</strong>ir restra<strong>in</strong>t- <strong>the</strong> build<strong>in</strong>g will<br />
rise only six storeys-and <strong>for</strong> <strong>the</strong>ir sensitivity to three heritage build<strong>in</strong>gs<br />
to be <strong>in</strong>corporated <strong>in</strong>to <strong>the</strong> scheme.<br />
Our thanks go out to all <strong>the</strong> contributors <strong>for</strong> <strong>the</strong>ir f<strong>in</strong>e work, to<br />
Ca<strong>the</strong>r<strong>in</strong>e Roberge <strong>for</strong> translation, to Christ<strong>in</strong>e Derou<strong>in</strong> <strong>for</strong> word<br />
process<strong>in</strong>g and to Gordon Fulton <strong>for</strong> his enthusiasm and support.<br />
We wish to acknowledge our pr<strong>of</strong>ound thanks to <strong>the</strong> Samuel and<br />
Saidye Bronfman Family Foundation <strong>for</strong> <strong>the</strong> grant which has made<br />
possible this special issue <strong>of</strong> <strong>the</strong> Bullet<strong>in</strong>.<br />
Robert Lemire<br />
Howard Shubert<br />
Claude Bergeron ecrit sur les eglises construites de 1955 a 1967<br />
dans Ia region du Saguenay-Lac-Sa<strong>in</strong>t-Jean et dont le style s'eloigne<br />
radicalement de !'<strong>architecture</strong> religieuse traditionnelle quebecoise.<br />
Ces eglises, toutes blanches, aux <strong>for</strong>mes <strong>in</strong>ventives, faites de<br />
materiaux modemes se detachent avec une nettete saisissante contre<br />
le bleu metallique du ciel nordique. L'analyse penetrante du pr<strong>of</strong>esseur<br />
Bergeron de ces remarquables structures rappelle egalement les<br />
evenements majeurs qui ont fa~onne le developpement economique,<br />
culture! et social durant une breve periode d'<strong>in</strong>tense creativite. II se<br />
penche sur !'oeuvre de Dom Paul Bellot, <strong>in</strong>itiateur de ce mouvement<br />
createur dans !'<strong>architecture</strong> religieuse et il mentionne les Leonce<br />
Desgagne, Paul-Marie Cote, maitres d'oeuvre de monuments remarquables<br />
!esquels sont traites et illustres dans le present article.<br />
Enf<strong>in</strong>, le troisieme article signe par Donna McGee nous parle de<br />
l'avenir. Apres avoir passe en revue les conceptions projetees pour le<br />
siege social d'Ultramar et exam<strong>in</strong>e le site complexe du projet, eu egard<br />
aux constructions avois<strong>in</strong>antes, Donna McGee felicite Ultramar<br />
d'avoir opte pour Ia sobriete-so it !'erection d'un edifice de six etages<br />
-et d'avoir eu l'excellente idee d'<strong>in</strong>tegrer a son parti architectural<br />
trois constructions a caractere patrimonial.<br />
Enf<strong>in</strong>, nous tenons a remercier tous nos collaborateurs, plus<br />
particulierement Ca<strong>the</strong>r<strong>in</strong>e Roberge pour Ia traduction, Christ<strong>in</strong>e<br />
Derou<strong>in</strong> pour Ia dactylographie et Gordon Fulton pour son appui sans<br />
reserve et son ardeur au travail.<br />
Nos plus s<strong>in</strong>ceres remerciements a Ia fondation Samuel et Saidye<br />
Bronfman sans qui Ia publication de ce numero special n'aurait pu<br />
etre possible.<br />
Robert Lemire et<br />
Howard Shubert<br />
SSAC BULLETIN SEAC 3:88
Chateau Vaudreuil and its Architect Gaspard-Joseph Chaussegros de Lery<br />
by John Bland<br />
••<br />
Figure 1. Chateau Vaudreuil, elevation to rue St-Pau//n 1727, after Gaspard-Joseph Chaussegros de Lery. (Photo: National Archives <strong>of</strong> Canada, National Map Collection<br />
C-37604)<br />
The Chateau Vaudreuil, <strong>the</strong> Montreal residence <strong>of</strong> <strong>the</strong> Governor<br />
<strong>of</strong> New France, stood on rue St-Paul just to <strong>the</strong> west <strong>of</strong> what is now<br />
Place Jacques-Cartier. Its design has been said "to rem<strong>in</strong>d us that a<br />
self-conscious classiciz<strong>in</strong>g French tradition coexisted <strong>in</strong> New France<br />
with <strong>the</strong> more widespread popular tradition." 1 Yet build<strong>in</strong>gs designed<br />
<strong>in</strong> this manner were rare, and <strong>the</strong> architect <strong>of</strong> <strong>the</strong> Chateau Vaudreuil,<br />
Gaspard-Joseph Chaussegros de Lery {1682-1756) appears to have<br />
had a hand <strong>in</strong> all <strong>of</strong> <strong>the</strong>m.<br />
Few build<strong>in</strong>gs <strong>in</strong> New France were designed and built <strong>in</strong> one susta<strong>in</strong>ed<br />
ef<strong>for</strong>t. Practically all were built <strong>in</strong> stages by <strong>the</strong> <strong>in</strong>cremental addition<br />
<strong>of</strong> floors or w<strong>in</strong>gs; baroque pr<strong>in</strong>cipals <strong>of</strong> composition had little<br />
<strong>in</strong>fluence. Yet <strong>the</strong> op<strong>in</strong>ion persisted, stimulated by at least two <strong>in</strong>fluential<br />
critics, Bacqueville de Ia Po<strong>the</strong>rie and Charlevoix, that build<strong>in</strong>gs<br />
<strong>in</strong>tended to be palaces had to be properly composed. That is,<br />
palaces had to be balanced about an axis. If <strong>the</strong>y were not, <strong>the</strong>y were<br />
considered <strong>in</strong>complete. Bishop St-Vallier's palace, Hopital General,<br />
and <strong>the</strong> Recollet Convent had similar compositions, but only <strong>the</strong><br />
palace was considered <strong>in</strong>complete. For many years Frontenac's great<br />
house, <strong>the</strong> Chateau St-Louis, lacked its southwest end pavilion, which<br />
greatly distressed its critics s<strong>in</strong>ce, unbalanced, it had no proper<br />
centre. 2 Only <strong>the</strong> Intendant's palace really pleased <strong>the</strong> critics. It had<br />
an admirable composition, and was clearly <strong>the</strong> ideal upon which <strong>the</strong><br />
Chateau Vaudreuil was modeled.<br />
Madame Ia marquise de Vaudreuil placed its cornerstone on May<br />
15, 1723. 3 Three years later, <strong>in</strong> 1726, it was certified complete as<br />
designed. 4 As <strong>the</strong> <strong>of</strong>ficial residence <strong>of</strong> <strong>the</strong> Governor General, <strong>the</strong><br />
house had been subsidized to some degree but, as if to avoid confusion<br />
on this matter, <strong>the</strong> plate <strong>in</strong> <strong>the</strong> comer-stone clearly stated that<br />
<strong>the</strong> house belonged to Vaudreuil. Because he <strong>in</strong>tended to rema<strong>in</strong> <strong>in</strong><br />
Canada after his tenure as Governor, <strong>the</strong> house was expected to become<br />
his pr<strong>in</strong>cipal residence. But Vaudreuil died <strong>in</strong> Quebec on October<br />
10, 1725 and he may never have seen <strong>the</strong> completed house. His<br />
widow returned to France directly, and his Canadian <strong>in</strong>terests, <strong>in</strong>clud<strong>in</strong>g<br />
<strong>the</strong> new house, passed to his fourth son Pierre de Rigaud, who<br />
leased it to <strong>the</strong> Crown <strong>for</strong> <strong>the</strong> use <strong>of</strong> <strong>the</strong> new Governor General. Years<br />
later Pierre de Rigaud occupied it himself when he became <strong>the</strong> last<br />
Governor <strong>of</strong> New France. The use <strong>of</strong> <strong>the</strong> chateau between 1760 and<br />
1773 is unclear, but <strong>in</strong> July 1773 it was purchased by <strong>the</strong> wardens <strong>of</strong><br />
<strong>the</strong> parish <strong>of</strong> Notre Dame <strong>for</strong> use as a boys' school, <strong>the</strong> College St<br />
Raphael.5 F<strong>in</strong>ally, <strong>in</strong> 1803, it was destroyed by fire. Its ru<strong>in</strong>s were<br />
demolished <strong>in</strong> 1806, and by 1815 <strong>the</strong> site had been developed <strong>for</strong> o<strong>the</strong>r<br />
purposes and no trace <strong>of</strong> <strong>the</strong> house rema<strong>in</strong>ed. 6<br />
With its elevated posture, balanced composition, and monumental<br />
doorway, <strong>the</strong> Chateau Vaudreuil stands <strong>in</strong> <strong>the</strong> tradition <strong>of</strong> French<br />
houses <strong>of</strong> <strong>the</strong> m<strong>in</strong>or nobility. At <strong>the</strong> same time, its austerity and outdated,<br />
spiky f<strong>in</strong>ials betray <strong>the</strong> old-fashioned tra<strong>in</strong><strong>in</strong>g <strong>of</strong> its author and<br />
<strong>the</strong> outlandish position <strong>of</strong> Montreal <strong>in</strong> <strong>the</strong> great age <strong>of</strong> French <strong>architecture</strong>.<br />
Chaussegros de Lery is believed to have been tra<strong>in</strong>ed <strong>in</strong><br />
Toulon about 1700 by his fa<strong>the</strong>r, a noted military eng<strong>in</strong>eer. 7 He would<br />
have learned <strong>the</strong> basic pr<strong>in</strong>ciples <strong>of</strong> civil <strong>architecture</strong> and, like o<strong>the</strong>r<br />
eng<strong>in</strong>eers <strong>of</strong> his day, he would have been qualified to design barracks,<br />
prisons, hospitals, garrison churches, and <strong>of</strong>ficial residences follow<strong>in</strong>g<br />
standard models. After some military experience <strong>in</strong> France, Chaussegros<br />
was dispatched to Canada to work on <strong>for</strong>tifications. He spent<br />
<strong>the</strong> rest <strong>of</strong> his life here <strong>in</strong> that pursuit.<br />
In addition, he is known to have prepared <strong>the</strong> designs <strong>for</strong> several<br />
important build<strong>in</strong>gs. The details <strong>of</strong> <strong>the</strong>se suggest that Chaussegros<br />
may have been responsible <strong>for</strong> a number <strong>of</strong> o<strong>the</strong>r decorative facades<br />
3:88 SSAC BULLETIN SEAC 5
I<br />
~<br />
~=-..==.- l ... ~r==. ..<br />
Figure 2. Chtlteau Vaudreuil, plan <strong>of</strong> ma<strong>in</strong> floor <strong>in</strong> 1727, after Gaspard-Joseph Chaussegros de Lllry. (Photo: National Archives <strong>of</strong> Canada, National Map Collection 23963)<br />
or ornamental doorways-<strong>in</strong>volv<strong>in</strong>g Doric or Ionic pilasters-which<br />
appeared about <strong>the</strong> middle <strong>of</strong> <strong>the</strong> 18th century. It seems, however,<br />
that his architectural experience was obta<strong>in</strong>ed entirely <strong>in</strong> New France.<br />
He made <strong>the</strong> "as built" draw<strong>in</strong>gs <strong>of</strong> <strong>the</strong> Intendant's palace <strong>in</strong> 1718 and<br />
was responsible <strong>for</strong> its reconstruction after <strong>the</strong> fire <strong>in</strong> 1721. He was<br />
<strong>in</strong>volved <strong>in</strong> survey<strong>in</strong>g, repair<strong>in</strong>g, and eventually complet<strong>in</strong>g <strong>the</strong><br />
Chateau St-Louis. Both build<strong>in</strong>gs, although larger <strong>in</strong> area than<br />
Chateau Vaudreuil, were <strong>of</strong> <strong>the</strong> same scale. The height <strong>of</strong> <strong>the</strong> pr<strong>in</strong>cipal<br />
doorway <strong>of</strong> <strong>the</strong> Chateau Vaudreuil, eleven feet, was <strong>the</strong> same as<br />
that <strong>of</strong> <strong>the</strong> Intendant's palace; both were only slightly higher than <strong>the</strong><br />
door <strong>of</strong> <strong>the</strong> Chateau St-Louis.<br />
While <strong>the</strong> Chateau Vaudreuil has an admirable composition, <strong>the</strong><br />
surviv<strong>in</strong>g draw<strong>in</strong>gs show that this was not achieved easily. The ma<strong>in</strong><br />
floor (figure 2) is <strong>in</strong> <strong>the</strong> <strong>for</strong>m <strong>of</strong> a letter H. Although <strong>the</strong> centre portion,<br />
<strong>the</strong> corps de logis, has <strong>the</strong> <strong>for</strong>m <strong>of</strong> a rectangle and <strong>the</strong> southwest<br />
w<strong>in</strong>g conta<strong>in</strong><strong>in</strong>g <strong>the</strong> cab<strong>in</strong>et and vestibule is regular, <strong>the</strong> nor<strong>the</strong>ast w<strong>in</strong>g<br />
is bent out <strong>of</strong> l<strong>in</strong>e by <strong>the</strong> adjo<strong>in</strong><strong>in</strong>g street. The dilemma this produced<br />
may be seen from <strong>in</strong>consistencies <strong>in</strong> <strong>the</strong> surviv<strong>in</strong>g draw<strong>in</strong>gs. The elevation<br />
to rue St-Paul (figure 1) shows that <strong>the</strong> nor<strong>the</strong>ast w<strong>in</strong>g, to <strong>the</strong><br />
right, p<strong>in</strong>ched by <strong>the</strong> adjo<strong>in</strong><strong>in</strong>g rue St-Charles, is narrower than <strong>the</strong><br />
southwest w<strong>in</strong>g to <strong>the</strong> left. This unbalanced proposal must have been<br />
unacceptable s<strong>in</strong>ce all <strong>the</strong> plans show an alternate solution where <strong>the</strong><br />
w<strong>in</strong>gs have facades <strong>of</strong> equal width. This was accomplished by allow<strong>in</strong>g<br />
<strong>the</strong> nor<strong>the</strong>ast w<strong>in</strong>g to overlap <strong>the</strong> corps de logis, so that only an<br />
adjustment to <strong>the</strong> center<strong>in</strong>g <strong>of</strong> its open<strong>in</strong>gs was needed to preserve<br />
<strong>the</strong> appearance <strong>of</strong> symmetry. Perhaps a more skillful architect would<br />
have handled this problem with greater subtlety. However, it is also<br />
possible that <strong>the</strong> problem was even more complex, as <strong>the</strong> geometry<br />
<strong>of</strong> <strong>the</strong> corps de logis might have been established by an exist<strong>in</strong>g build<strong>in</strong>g<br />
on <strong>the</strong> site. Plans <strong>of</strong> Montreal by both Levasseur de Nere <strong>in</strong> 1704<br />
and Gedeon de Catlogne <strong>in</strong> 17'13 show a simple rectangular build<strong>in</strong>g<br />
<strong>in</strong> <strong>the</strong> exact location <strong>of</strong> <strong>the</strong> corps de logis.<br />
A fur<strong>the</strong>r exam<strong>in</strong>ation <strong>of</strong> <strong>the</strong> plans shows that <strong>the</strong> architect's concern<br />
<strong>for</strong> regularity extended to <strong>the</strong> garden front and to <strong>the</strong> less conspicuous<br />
sides. Along <strong>the</strong> nor<strong>the</strong>ast w<strong>in</strong>g <strong>the</strong> plans <strong>of</strong> <strong>the</strong> basement<br />
and pr<strong>in</strong>cipal floors show <strong>in</strong>dentations <strong>in</strong> <strong>the</strong> walls mark<strong>in</strong>g <strong>the</strong> outl<strong>in</strong>es<br />
<strong>of</strong> bl<strong>in</strong>d w<strong>in</strong>dows. These functioned solely to satisfy <strong>the</strong> eye <strong>of</strong><br />
an observer <strong>in</strong> quest <strong>of</strong> <strong>the</strong> orderly arrangement <strong>of</strong> open<strong>in</strong>gs one<br />
above <strong>the</strong> o<strong>the</strong>r from basement to ro<strong>of</strong>.<br />
The basement w<strong>in</strong>dows have segmental heads to harmonize with<br />
<strong>the</strong> segmental vaults over <strong>the</strong> basement spaces. The architect<br />
provided str<strong>in</strong>g courses at <strong>the</strong> level <strong>of</strong> <strong>the</strong> w<strong>in</strong>dow sills, ra<strong>the</strong>r than at<br />
<strong>the</strong> more traditional floor levels or at both locations. These sill level<br />
courses served equally well <strong>the</strong> purpose <strong>of</strong> mark<strong>in</strong>g <strong>the</strong> storeys and <strong>of</strong><br />
tidily relat<strong>in</strong>g <strong>the</strong> w<strong>in</strong>dows horizontally. Similarly, a project<strong>in</strong>g course<br />
marks <strong>the</strong> quo<strong>in</strong>s and <strong>the</strong> architraves <strong>of</strong> <strong>the</strong> open<strong>in</strong>gs. These allowed<br />
<strong>the</strong> walls to be neatly plastered so that <strong>the</strong>re were no unprotected<br />
comers which might have allowed <strong>the</strong> s<strong>of</strong>t, irregular crepi to break<br />
away. Small dormer w<strong>in</strong>dows with elliptical heads occur directly above<br />
<strong>the</strong> w<strong>in</strong>dows <strong>of</strong> <strong>the</strong> lower floors. This elliptical pr<strong>of</strong>ile was ideally<br />
suited to be f<strong>in</strong>ished with hammered lead sheets, as required <strong>for</strong> slate<br />
ro<strong>of</strong>s. Later, perhaps when <strong>the</strong> house became a college, more <strong>in</strong>tensive<br />
use <strong>of</strong> <strong>the</strong> attic required <strong>the</strong> enlargement <strong>of</strong> <strong>the</strong>se elegant small<br />
w<strong>in</strong>dows <strong>in</strong>to <strong>the</strong> unga<strong>in</strong>ly dormers shown <strong>in</strong> <strong>the</strong> view <strong>of</strong> <strong>the</strong> house attributed<br />
to Berczy by Morisette and Gowans, and to Duncan by Marsan.8<br />
The monumental doorway, petron, and horseshoe stairs are features<br />
taken directly from <strong>the</strong> Intendant's palace at Quebec, except<br />
that at Montreal <strong>the</strong> petron is extended on ei<strong>the</strong>r side to meet <strong>the</strong><br />
project<strong>in</strong>g w<strong>in</strong>gs. This enables it to serve a secondary doorway <strong>in</strong> <strong>the</strong><br />
southwest w<strong>in</strong>g (figure 2). A similar doorway at Quebec clumsily required<br />
a separate set <strong>of</strong> steps. This second doorway, <strong>in</strong> <strong>the</strong> Chateau<br />
Vaudreuil, may well have been <strong>in</strong>tended as <strong>the</strong> day-to-day entrance<br />
to <strong>the</strong> house. On one <strong>of</strong> <strong>the</strong> surviv<strong>in</strong>g plans <strong>of</strong> <strong>the</strong> ground floor <strong>the</strong><br />
room it serves is labeled vestibule. The pr<strong>in</strong>cipal door <strong>of</strong>fered direct<br />
access to <strong>the</strong> salle, as <strong>in</strong> <strong>the</strong> arrangement <strong>of</strong> <strong>the</strong> Chateau St-Louis.<br />
6 SSAC BULLETIN SEAC 3:88
Figure 3. Chtlteau Vaudreuil, plan <strong>of</strong> first floor <strong>in</strong> 1727, after Gaspard.Joseph Chaussegros de U§ry. (Photo: National Archives <strong>of</strong> Canada, National Map Collection<br />
C-60867)<br />
Like <strong>the</strong> great house <strong>in</strong> Quebec, <strong>the</strong> door between <strong>the</strong> salle and <strong>the</strong><br />
te/Tase was on axis with <strong>the</strong> pr<strong>in</strong>cipal entrance. In Quebec, <strong>the</strong> famous<br />
terrace overlooked <strong>the</strong> river and a vast landscape; <strong>in</strong> Montreal, <strong>the</strong><br />
terrace overlooked a walled parterre and beyond to an orchard with<br />
Mount Royal <strong>in</strong> <strong>the</strong> distance. In Quebec it was customary <strong>for</strong> <strong>the</strong><br />
Governor's visitors to wait on <strong>the</strong> terrace until he was free. The same<br />
procedure may have been <strong>in</strong>tended <strong>in</strong> Montreal. The doorways <strong>of</strong> <strong>the</strong><br />
four pr<strong>in</strong>cipal reception rooms were arranged enfilade, as <strong>the</strong>y were<br />
<strong>in</strong> <strong>the</strong> Chiiteau St-Louis, provid<strong>in</strong>g equally handsome views and clear<br />
routes from room to room. Corridors on <strong>the</strong> ma<strong>in</strong> floor were m<strong>in</strong>or<br />
and served only <strong>the</strong> stairways and rooms <strong>in</strong> <strong>the</strong> w<strong>in</strong>gs. Cab<strong>in</strong>ets, likely<br />
<strong>in</strong>tended as <strong>the</strong> <strong>of</strong>fices <strong>of</strong> <strong>the</strong> Governor's pr<strong>in</strong>cipal secretaries, occupied<br />
<strong>the</strong> ends <strong>of</strong> <strong>the</strong> w<strong>in</strong>gs. The garden terrace was probably made<br />
<strong>of</strong> wood, as is <strong>of</strong>ten <strong>the</strong> case <strong>in</strong> Canadian houses. The entrance terrace-<strong>the</strong><br />
peiTOn and steps-was built <strong>of</strong> stone on a base, penetrated<br />
only by vaulted entrance vestibules lead<strong>in</strong>g to <strong>the</strong> basement rooms<br />
front<strong>in</strong>g rue St-Paul. This was a pattern used <strong>in</strong> <strong>the</strong> design <strong>of</strong> large<br />
stone houses <strong>in</strong> Montreal throughout <strong>the</strong> 19th century.<br />
The southwest w<strong>in</strong>g <strong>of</strong> <strong>the</strong> basement plan beside <strong>the</strong> service courtyard<br />
(figure 4) comprises what appear to be two kitchens. This was<br />
not uncommon <strong>in</strong> houses with numerous staff (<strong>the</strong> Intendant's palace<br />
had two huge kitchens). The smaller <strong>of</strong> <strong>the</strong> two kitchens, labeled <strong>of</strong>fice,<br />
conta<strong>in</strong>ed a big hearth <strong>for</strong> roast<strong>in</strong>g, a bake oven that extended<br />
out <strong>in</strong>to <strong>the</strong> yard, and a separate range <strong>of</strong> five charcoal burners. The<br />
larger room, labeled cuis<strong>in</strong>e, conta<strong>in</strong>ed an even bigger hearth and a<br />
separate range <strong>of</strong> eight burners. It had large w<strong>in</strong>dows on both rue St<br />
Paul and <strong>the</strong> service yard. Between <strong>the</strong> two kitchens was <strong>the</strong> garde<br />
manger, <strong>the</strong> stairway to <strong>the</strong> house above, access to <strong>the</strong> court, and <strong>the</strong><br />
cave, which occupied <strong>the</strong> whole space below <strong>the</strong> salle. The uses <strong>of</strong> <strong>the</strong><br />
rooms with<strong>in</strong> <strong>the</strong> nor<strong>the</strong>ast w<strong>in</strong>g are not so clear. The slope <strong>of</strong> rue St<br />
Charles and its proximity to <strong>the</strong> house likely prohibited w<strong>in</strong>dows, and<br />
this made <strong>the</strong> rooms less habitable. Only <strong>the</strong> front room, with w<strong>in</strong>dows<br />
look<strong>in</strong>g on to rue St-Paul, had a fireplace. With a separate vestibule<br />
and direct access to <strong>the</strong> street, this room may have been used<br />
as an adm<strong>in</strong>istrative <strong>of</strong>fice. The rema<strong>in</strong><strong>in</strong>g rooms <strong>in</strong> this w<strong>in</strong>g were<br />
used <strong>for</strong> storage.<br />
On <strong>the</strong> first floor (figure 3) all <strong>the</strong> rooms were separate, not <strong>in</strong>terconnected<br />
as on <strong>the</strong> ma<strong>in</strong> floor below. Thus, a corridor was required<br />
across <strong>the</strong> corps de logis connect<strong>in</strong>g <strong>the</strong> stairways <strong>in</strong> <strong>the</strong> w<strong>in</strong>gs.<br />
Similar to <strong>the</strong> arrangement <strong>in</strong> <strong>the</strong> Chateau St-Louis, this corridor was<br />
on <strong>the</strong> north side; <strong>the</strong> chambres were on <strong>the</strong> sunny side. Curiously,<br />
<strong>the</strong> two major rooms on <strong>the</strong> first floor were set aside <strong>for</strong> <strong>of</strong>ficial service,<br />
chambre des gardes and chambre du capita<strong>in</strong>e des gardes. This<br />
seems an <strong>in</strong>trusion at this po<strong>in</strong>t <strong>in</strong> <strong>the</strong> house and leads one to wonder<br />
whe<strong>the</strong>r <strong>the</strong> subsidy, referred to above, might have been based upon<br />
<strong>the</strong> area and prom<strong>in</strong>ence <strong>of</strong> rooms devoted to <strong>of</strong>ficial purposes. One<br />
notes a similar discrepancy <strong>in</strong> <strong>the</strong> unlikely placement <strong>of</strong> beds <strong>in</strong> <strong>the</strong><br />
plans <strong>of</strong> hospitals whose grants depend on <strong>the</strong>ir count.<br />
The chiiteau had outdoor privies, but it also had <strong>in</strong>door arrangements<br />
on both pr<strong>in</strong>cipal floors. These consisted <strong>of</strong> seats over wide<br />
flues located directly above a pit <strong>in</strong> <strong>the</strong> basement (labeled fosse) which<br />
was vented as a chimney. Properly built and ma<strong>in</strong>ta<strong>in</strong>ed, <strong>the</strong>se<br />
facilities were probably not unsatisfactory and were perhaps an improvement<br />
over arrangements <strong>in</strong> <strong>the</strong> houses <strong>of</strong> <strong>of</strong>ficials <strong>in</strong> Quebec.<br />
The latter were usually found <strong>in</strong> separate towers, splendidly ventilated<br />
but desperately cold.<br />
The ro<strong>of</strong> <strong>of</strong> <strong>the</strong> chateau is unusual <strong>in</strong> that it had two different<br />
angles <strong>of</strong> <strong>in</strong>cl<strong>in</strong>ation. Over <strong>the</strong> corps de logis <strong>the</strong> wide span had a lower<br />
slope than over <strong>the</strong> narrower w<strong>in</strong>gs. This permitted all ro<strong>of</strong>s to have<br />
common eaves, a common ridge, and, moreover, to appear to have<br />
consistent slopes, s<strong>in</strong>ce only <strong>the</strong> ro<strong>of</strong>s over <strong>the</strong> w<strong>in</strong>gs could be seen <strong>in</strong><br />
pr<strong>of</strong>ile. This arrangement appears to be similar to a system used <strong>in</strong><br />
Quebec churches, where transept ro<strong>of</strong>s were raised to <strong>in</strong>terrupt and<br />
conceal <strong>the</strong> differences <strong>in</strong> ro<strong>of</strong> slopes over wide naves and narrow<br />
chancels. These differences had hi<strong>the</strong>rto caused weird situations when<br />
3:88 SSAC BULLETIN SEAC
Figure 4. Chateau Vaudreuil, plan <strong>of</strong> basement In 1727, after Gaspard-Joseph Chaussegros de Lery. (Photo: National Archives <strong>of</strong> Canada, National Map Collection<br />
C-60866)<br />
regular ro<strong>of</strong> l<strong>in</strong>es were desired. But <strong>the</strong>re is no evidence that Chaussegros<br />
de Lery played any part <strong>in</strong> this, possibly parallel, development.<br />
Chaussegros de Lery died <strong>in</strong> 1756, but that did not save him from<br />
becom<strong>in</strong>g a scapegoat, along with Pierre de Rigaud and o<strong>the</strong>rs, three<br />
years later. Many people were blamed <strong>for</strong> <strong>the</strong> loss <strong>of</strong> New France.<br />
Those who lived had a chance to defend and gradually rega<strong>in</strong> <strong>the</strong>ir<br />
reputations. But those who were dead had no defense. As a military<br />
eng<strong>in</strong>eer, Chaussegros was popularly condemned as <strong>in</strong>competent, as<br />
an architect mediocre. Even two centuries later, Ramsay Traquair's<br />
assessment, quoted by Chaussegros' biographer F. J. Thorpe, seems<br />
unnecessarily harsh: "If <strong>the</strong> front <strong>of</strong> Notre Dame is to be taken as a<br />
good example <strong>of</strong> his quality as an architect, his knowledge and design<strong>in</strong>g<br />
abilities were very slight <strong>in</strong>deed. " 9 Traquair had little appreciation<br />
<strong>for</strong> self-conscious classiciz<strong>in</strong>g ideas <strong>in</strong> <strong>architecture</strong>. A craftsman's eye<br />
drew his attention to skilled masonry, carpentry, jo<strong>in</strong>ery, and wellwrought<br />
iron; exquisitely carved p<strong>in</strong>e furniture and fitt<strong>in</strong>gs were what<br />
he most enjoyed. Moreover, <strong>the</strong> palaces, <strong>the</strong> chiiteaux, and, one must<br />
add, <strong>the</strong> facade <strong>of</strong> Notre Dame had long disappeared when Traquair<br />
explored <strong>the</strong> <strong>architecture</strong> <strong>of</strong> Quebec. And what is most important,<br />
Chaussegros de Lery's draw<strong>in</strong>gs have only recently appeared.<br />
Now seems <strong>the</strong> time <strong>for</strong> a more generous view <strong>of</strong> Chaussegros de<br />
Lery, accept<strong>in</strong>g that he was nei<strong>the</strong>r highly tra<strong>in</strong>ed nor especially experienced,<br />
and that he worked <strong>in</strong> isolation. One must give him due<br />
credit <strong>for</strong> stress<strong>in</strong>g simple pr<strong>in</strong>ciples <strong>of</strong> order <strong>in</strong> prom<strong>in</strong>ent build<strong>in</strong>gs<br />
and, where appropriate, us<strong>in</strong>g a little classical ornament to civilize<br />
<strong>the</strong>m.<br />
Endnotes<br />
1 Christ<strong>in</strong>a Cameron, "Hous<strong>in</strong>g <strong>in</strong> Quebec Be<strong>for</strong>e Confederation, • The Journal <strong>of</strong><br />
Canadian Art History, Vol. VI, No.1, 1982, pp. 1-34.<br />
2 Claude Charles Le Roy Bacqueville de Ia Po<strong>the</strong>rie, Histoire dL /'Amerique Septentrionale<br />
(Paris, 1753, repr<strong>in</strong>t <strong>of</strong> 1722 edition), Vol. 1, pp. 233-234. La Po<strong>the</strong>rie<br />
called <strong>the</strong> Bishop's palace a great build<strong>in</strong>g <strong>in</strong> which <strong>the</strong> chapel ought to <strong>for</strong>m <strong>the</strong><br />
centre. He added, almost subconsciously, that few episcopal palaces would be its<br />
equal when f<strong>in</strong>ished.<br />
Pierre-Fran~ois-Xavier de Charlevoix, Joumal <strong>of</strong> a Voyage to North America [<strong>in</strong><br />
English] (Dubl<strong>in</strong>, 1766), Letter III, Quebec, October 28, 1720, p. 31. Charlevoix<br />
compla<strong>in</strong>ed that although <strong>the</strong> Cbiiteau St-Louis was a l<strong>in</strong>e build<strong>in</strong>g, it was <strong>in</strong>tended<br />
to have advanced pavilions at both ends, but only one had been built.<br />
3 Robert Lahaise, Les edifices conventuels du Vieux Montreal, p. 302, note 26,<br />
"!'<strong>in</strong>scription trouvee le 15 mai 1806, so us le premiere Pierre de !'angle sud-est de<br />
!'ancien chateau Vaudreuil:<br />
Cette Pierre<br />
a este posee par Dame Louise-Elizabeth Jouabere<br />
Femme de haut et puissant Seigneur<br />
PHILIPPE DE RIGAUD<br />
Chevalier, Marquis de Vaudreuil,<br />
Grand Croix de St-Louis,<br />
Gouverneur<br />
Lieutenant Glmeral pour le Rei de toutle Ia<br />
Nouvelle France Septentrionale<br />
en 1723, le 15 may<br />
Sept maison appartien a Monsieur le<br />
Marquis de Vaudreuil."<br />
4 Certified survey <strong>of</strong> bouse and grounds, Archives Nationales C7 No. 340 Dossier<br />
Vaudreuil (author's translation):<br />
July 17, 1726, we, Jean-Baptiste Angers and Rene Berouagne, land surveyors appo<strong>in</strong>ted<br />
by M. Lepre represent<strong>in</strong>g <strong>the</strong> K<strong>in</strong>g: we visited <strong>the</strong> house and grounds <strong>of</strong><br />
M. le Marquis de Vaudreuillocated <strong>in</strong> Montreal; we found <strong>the</strong> area was U111/4<br />
Ioise, <strong>in</strong>clud<strong>in</strong>g courtyards, flowerbeds, fruit gardens and kitchen gardens; and <strong>the</strong><br />
o<strong>the</strong>r site, a dependence <strong>of</strong> <strong>the</strong> property opposite <strong>the</strong> house on <strong>the</strong> St. Lawrence<br />
River side, we found to be U4 Ioise: all correspond<strong>in</strong>g to <strong>the</strong> plan we have drawn<br />
and certify to be true, <strong>in</strong> witness where<strong>of</strong> we have signed on <strong>the</strong> above date at<br />
Montreal.<br />
5 Robert Lahaise, p. 302, note 25.<br />
6 See Joseph Bouchette's plan <strong>of</strong> Montreal, 1815.<br />
7 For <strong>in</strong><strong>for</strong>mation about Gaspard-Joseph Chaussegros de Ury see <strong>the</strong> biographical<br />
essay by F. J. Thorpe, Dictionary <strong>of</strong> Canadian Biography, Vol. III, pp. 116-119.<br />
B See Gerard Morisette, L 'arr:hitecture en Nouvelle France, pl. 35a; Alan Gowans,<br />
Build<strong>in</strong>g Canada, pl. 24; Jean-Claude Marsan, Montreal <strong>in</strong> Evolution, pl. B.<br />
9 F. J. Thorpe, DCB, Vol. III, p. 118.<br />
8 SSAC BULLETIN SEAC 3:88
Figure 1. Adrien Dufresne, Sa<strong>in</strong>te-Therese-de-Lisieux, Beauport, 1936. Net (Photo: auteur).<br />
Le Modernisme veno do Nord: les eglises do Sagoenay-Lac-Sa<strong>in</strong>t-Jean<br />
par Claude Bergeron<br />
Entre 1955 et environ 1967, Ia region du Saguenay Lac-Sa<strong>in</strong>t-Jean<br />
a etonne les milieux architecturaux quebecois par le modemisme le<br />
plus radical de ses eglises. Leurs architectes se sont plusieurs fois<br />
merite des decorations nationales, dont Ia Medaille Massey. Ces<br />
eglises ont retenu !'attention non seulement des specialistes, mais<br />
aussi du public en general. Tous les visiteurs etaient frappes par<br />
!'au dace et par !'eclat de ces constructions, presque toujours blanches,<br />
qui se dressent ici et Ia dans le ciel clair de cette region nordique. A<br />
cause des eglises de ces quelque douze annees, le Saguenay-Lac<br />
Sa<strong>in</strong>t-Jean est alors apparu comme/un centre majeur de creation architecturale.<br />
Avec Ia region montrealaise, il a alors donne au Quebec<br />
les oeuvres les plus rajeunies, les premieres oeuvres a adopter aussi<br />
resolument l'es<strong>the</strong>tique du mouvement modeme, par leur legerete,<br />
leur simplification <strong>for</strong>melle et par !'exploitation hardie des materiaux<br />
nouveaux.<br />
Comment expliquer une telle eclosion de <strong>for</strong>mes modemes dans<br />
une region aussi eloignee des grandes centres? Sans doute faut-il<br />
l'attribuer en partie au talent des architectes. Certa<strong>in</strong>s d'entre eux<br />
cherchaient resolument des <strong>for</strong>mes et des solutions structurales<br />
nouvelles. Mais le pr<strong>in</strong>cipal responsable est, a mon avis, Ia population<br />
qui a fait construire ces eglises et qui a, durant un certa<strong>in</strong> temps tout<br />
au mo<strong>in</strong>s, encourage ce foisonnement de <strong>for</strong>mes nouvelles. Cette <strong>architecture</strong><br />
religieuse, parses <strong>for</strong>mes audacieuses et spectaculaires, exprimait<br />
une confiance et une fierte; et elle traduisant a<strong>in</strong>si des<br />
caracteristiques de Ia population de meme que certa<strong>in</strong>es de ses attentes.<br />
Groupee autour du lac Sa<strong>in</strong>t-Jean et de chaque cote du fleuve<br />
Saguenay, cette population de quelque 275 000 habitants se trouve a<br />
constituer une region bien delimitee qu'elle se plait a appeler le<br />
Royaume du Saguenay. De plus, cette region est relativement isolee<br />
des autres regions habitees. Une distance de 200 kilometres separe<br />
Chicoutimi de Ia ville de Quebec, et ce n'est que depuis 1954 qu'une<br />
route relie directement ces deux villes. Plusieurs caracteristiques dist<strong>in</strong>guent<br />
Ia population de cette region de celle du reste du Quebec.<br />
C'est une region <strong>for</strong>tement <strong>in</strong>dustrialisee, les pr<strong>in</strong>cipales <strong>in</strong>dustries<br />
etant celles de !'alum<strong>in</strong>ium et du papier. Elle a connu durant Ia<br />
demiere guerre une croissance remarquable qui s'est poursuivie apres<br />
le conflit. Jusqu'en 1961, le rythme de croissance de Ia population<br />
regionale etait superieur a celui de Ia population du Quebec en<br />
general. Sa population etait en meme temps Ia plus jeune du Quebec,<br />
!'age moyen etant 22,7 ans. Les mo<strong>in</strong>s de 20 ans etaient plus nombreux<br />
que partout ailleurs, et les plus de 65 ans mo<strong>in</strong>s nombreux.<br />
Cette population jeune est en meme temps urba<strong>in</strong>e. En 1971, 72%<br />
3:88 SSAC BULLETIN SEAC 9
Figure 2. Edgar Courchesne, Sa<strong>in</strong>te-Madele<strong>in</strong>e-sophie·Barat, Montreal, 1948·1950. Net (Photo: lnventaire des biens cu/turels).<br />
de Ia population vivait dans les villes. C'etait Ia region Ia plus<br />
urbanisee du Quebec, apres les regions de Montreal et de Quebec.<br />
Cette situation a favorise !'<strong>in</strong>stallation d'un bon nombre<br />
d' equipements educatifs, sociaux et culturels, et les resultats se<br />
~efletent dans le taux eleve de scolarisation chez les jeunes. Toujours<br />
d'apres le recensement de 1971, le taux de scolarisation chez les jeunes<br />
de 15 a 20 ans etait plus eleve au Saguenay- Lac-Sa<strong>in</strong>t-Jean que dans<br />
n'importe quelle autre region du Quebec.<br />
Non seulement Ia population y est-elle plus jeune et plus <strong>in</strong>struite<br />
qu'ailleurs au Quebec, mais elle est aussi plus riche. Le revenu moyen<br />
de Ia population non agricole y etait, selon le recensement de 1961,<br />
plus e!eve qu'a Quebec, Montreal et que dans !'ensemble du Quebec.<br />
Mais plus important encore que Ia possession de Ia richesse, c'est le<br />
sentiment que !'on avait d'etre riche. C'est lui qui determ<strong>in</strong>e<br />
davantage le comportement. Durant les annees 60, au Saguenay<br />
Lac-Sa<strong>in</strong>t-Jean, il importait de bien paraitre, et pour cela on n'hesitait<br />
pas a vivre au-dessus de ses moyens. Les compagnies de pret faisaient<br />
d'excellentes affaires dans Ia region. On empruntait pour s'acheter<br />
une maison, un chalet. Le nombre des proprietaires de chalet etait<br />
remarquablement eleve surtout quand on songe que les villes de Ia<br />
region se situent a deux pas de Ia nature Sauvage. On empruntait aussi<br />
pour s'acheter une automobile, une automobile de luxe. On rapportait<br />
souvent qu'au debut des annees 60 le nombre de Cadillacs per<br />
capita etait plus eleve a Chicoutimi que dans n'importe quelle autre<br />
ville canadienne. La fierte et un sentiment de superiorite sont des<br />
caracteristiques de Ia population du Saguenay-Lac-Sa<strong>in</strong>t-Jean. Elles<br />
peuvent facilement trouver leur explication dans les resultats remarquables<br />
auxquels etaient parvenus le developpement culture! et le<br />
developpement economique de cette region lo<strong>in</strong>ta<strong>in</strong>e dont Ia<br />
colonisation n'etait pas encore un phenomene tres ancien.<br />
Si Ia fierte est un trait de caractere que !'on reconnait<br />
generalement aux habitants de cette region, il n'apparait pas mo<strong>in</strong>s<br />
vrai que, dans les annees 60, ils se caracterisaient aussi par un manque<br />
d'assurance face a l'etranger. Des moyens de communication<br />
modemes reliaient ma<strong>in</strong>tenant cette region au reste de Ia prov<strong>in</strong>ce et<br />
au reste du pays, mais les adultes d'alors avaient grandi dans une<br />
region isolee physiquement qui a dfi les fa\;Onner. Un habitant de<br />
Chicoutimi declarait a un enqueteur en 1967 : «Les personnes nees<br />
ici viennent au monde avec cet isolement; celui-ci fait partie de leur<br />
vie >. 1 Beaucoup d'habitants n'avaient a peu pres pas de contact avec<br />
des personnes vivant dans d'autres regions, et manquaient<br />
d'assurance pour frayer avec les etrangers. D'apres le temoignage<br />
d'un autre Chicoutimien foumi ace meme enqueteur en 1967, ce manque<br />
d'assurance donnait lieu a des reactions extremes. Selon ses<br />
propres mots, d'une part on se croyait le nombril du monde et d'autre<br />
part on avait des comportements enfant<strong>in</strong>s. 2 Autrement dit, Ia societe<br />
etait a !'age adolescent. Comme !'adolescent, elle pouvait avoir une<br />
attitude fanfaronne au milieu des siens et aussi au se<strong>in</strong> d'etrangers,<br />
mais elle etait consciente que son isolement ne l'avait pas sensibilisee<br />
aux problemes exterieurs et qu'illui etait par consequent difficile de<br />
communiquer avec l'etranger qui l'<strong>in</strong>timidait comme un adulte <strong>in</strong>timide<br />
un adolescent.<br />
10 SSAC BULLETIN SEAC 3:88
Figure 3. Leonce Desgagne et Paul Boileau, chapefle de I'H6tei-Dieu Sa<strong>in</strong>t-Vallier, Chicoutimi, 1942-1943. tnterieur (Photo: H6tei-Dieu Sa<strong>in</strong>t-Vallier).<br />
3:88 SSAC BULLETIN SEAC 11
....... ..<br />
• !I! •<br />
Figure 4. Lf!once Desgagm! et Paul Boileau, Sa<strong>in</strong>te-Therese-d'Avila, Do/beau, 1946-1947. Net (Photo: auteur).<br />
Or, les eglises que !'on a construites au Saguenay-Lac-Sa<strong>in</strong>t-Jean<br />
surtout entre 1955 et 1967 correspondent bien a ce double aspect du<br />
comportement de Ia population. Par leurs lignes elancees et leurs <strong>for</strong>mes<br />
spectaculaires de meme que par leurs structures audacieuses, ces<br />
eglises refletaient bien Ia fierte des habitants, en meme temps qu'elles<br />
etaient aptes a leur <strong>in</strong>spirer !'assurance, Ia confiance en eux-memes<br />
dont ils semblaient avoir beso<strong>in</strong>. Et, comme on peut s'y attendre, ils<br />
ne manquerent jamais !'occasion de souligner Ia hardiesse de leur <strong>architecture</strong><br />
religieuse comme preuve de leur dynamisme et de ce dont<br />
ils etaient capables.<br />
Si !'age d'or de cette nouvelle <strong>architecture</strong> se situe entre 1955 et<br />
1967, deja pendant la Seconde Guerre on remarque des <strong>in</strong>itiatives importantes<br />
pour renouveler le langage <strong>for</strong>me! alors en faveur, grace a<br />
!'exploitation des possibilites qu'<strong>of</strong>frait le beton. A l'epoque de la<br />
guerre, la grande nouveaute en <strong>architecture</strong> religieuse au Quebec<br />
etait le style de Dom Bellot. Dom Paul Bellot est un benedict<strong>in</strong><br />
fran~ais qui avait construit des eglises et des batiments monastiques<br />
d'abord dans l'lle de Wight, en Hollande, en Belgique et puis en<br />
France, avant de venir au Canada en 1936 pour poursuivre les travaux<br />
de l'oratoire Sa<strong>in</strong>t-Joseph a Montreal et commencer l'abbaye<br />
benedict<strong>in</strong>e de Sa<strong>in</strong>t-Benoit-du-Lac, pres de Sherbrooke, ou il fut<br />
<strong>in</strong>hume en 1944. Il avait etudie !'<strong>architecture</strong> a !'Ecole des Beaux-Arts<br />
de Paris ou il obt<strong>in</strong>t son diplome en 1901. Les pr<strong>in</strong>cipales<br />
caracteristiques de son <strong>architecture</strong> appartiennent a la structure et au<br />
decor. Dom Bellot fut, comme beau coup d'architectes de son epoque,<br />
<strong>for</strong>tement <strong>in</strong>fluence par le rationalisme structural de Viollet-le-Duc.<br />
Comme ce dernier, il fut <strong>in</strong>spire par les batisseurs du moyen-age, dont<br />
il chercha a ameliorer le systeme de construction. Il s'ef<strong>for</strong>~a notamment<br />
de ma<strong>in</strong>tenir les poussees laterales de ses v<strong>of</strong>ites a l'<strong>in</strong>terieur de<br />
ses edifices, af<strong>in</strong> de ne pas avoir a les contrebuter par des constructions<br />
externes comme des contre<strong>for</strong>ts ou des arcs-boutants. Dans ses<br />
edifices en brique, qui est le materiau qu'il utilisa immanquablement<br />
jusqu'au debut des annees 30, Dom Bellot erigea des arcs paraboliques.<br />
Apres cette date, il a souvent construit en beton. Il adapta Ia<br />
<strong>for</strong>me parabolique a Ia contra<strong>in</strong>te des c<strong>of</strong>frages en bois qui imposent<br />
Ia ligne droite, et il dess<strong>in</strong>a alors des arcs polygonaux <strong>for</strong>mes de segments<br />
de longueur decroissante. Le pr<strong>of</strong>il a<strong>in</strong>si obtenu derive<br />
manifestement de !'arc parabolique dont il conserve !'elan.<br />
12 SSAC BULLETIN SEAC 3:88
Figure 5. U!once Oesgagne et Paul Boileau, Sa<strong>in</strong>t-Nom-de.Jesus,<br />
Riviere-du-Moul<strong>in</strong>, 195Q-1951. Exterieur (Photo: auteur).<br />
Figure 6. Leonce Desgagne et Paul Boileau, Sa<strong>in</strong>t-Nom-de.Jesus,<br />
Riviere-du-Moul<strong>in</strong>, 195Q-1951. Net (Photo: auteur).<br />
Au Quebec, on a bati dans les deux manieres de Dom Bellot, a<br />
savoir !'arc parabolique dans !es constructions en brique et !'arc<br />
polygonal dans les constructions en beton (Fig.l et 2). La plupart des<br />
architectes se sont contentes de repeter ces <strong>for</strong>mes soit <strong>in</strong>tegralement<br />
soit en <strong>in</strong>sistant sur les effets decoratifs, soit encore en les simplifiant<br />
au po<strong>in</strong>t de !es priver de <strong>for</strong>ce et de caract ere.<br />
Toutefois, au Saguenay-Lac-Sa<strong>in</strong>t-Jean, un architecte a fait<br />
preuve de beaucoup d'imag<strong>in</strong>ation et de liberte a l'egard des <strong>for</strong>mes<br />
de Dom Bellot pour produire des oeuvres qui en respectent les pr<strong>in</strong>cipes,<br />
mais qui <strong>in</strong>novent en exploitant les possibilites du bet on arme.<br />
Cet architecte est Leonce Desgagne. II est le seul dont les oeuvres illustrent<br />
toutes les phases de !'<strong>architecture</strong> religieuse de Ia region<br />
depuis 1940. Travaillant d'abord seul, puis associe a Paul Boileau a<br />
partir de 1944, il a, jusqu'au debut des annees 50, realise des oeuvres<br />
volontairement traditionnalistes 3 comme le reclamait alors un<br />
courant nationaliste tres vivant, en meme temps qu'il concevait les<br />
edifices religieux les plus novateurs de toute le Quebec et meme de<br />
toutle Canada. Par Ia suite, Desgagne fut associe a Paul-Marie Cote.<br />
Ensemble ils ont produit leur quote-part des eglises qui ont durant<br />
une douza<strong>in</strong>e d'annees fait Ia renommee du Saguenay-Lac-Sa<strong>in</strong>t<br />
Jean.<br />
En 1942, Desgagne construisait Ia chapelle de l'Hotel-Dieu Sa<strong>in</strong>t<br />
Vallier a Chicoutimi (Fig. 3). La structure de cette chapelle est en<br />
beton arme, materiau pour lequel Dom Bellot recommandait !'arc<br />
polygonaL L'<strong>in</strong>terieur conserve le pr<strong>of</strong>il polygonal, mais il n'y a plus<br />
d'arcs a proprement parler. Contre les murs montent des piliers en<br />
bet on de <strong>for</strong>me triangulaire. Sur ces piliers, se posent des poutres ou<br />
s'appuient les chevrons en beton des deux pentes du toit. D'autres<br />
chevrons, disposes a 45 degres par rapport aux premiers, produisent<br />
avec ceux-ci des caissons pr<strong>of</strong>onds de <strong>for</strong>mes polygonales et triangulaires.<br />
Les motifs polygonaux, notamment le motif <strong>for</strong>me de deux<br />
carres superposes et decales de 45 degres, etaient des motifs decoratifs<br />
typiques du style de Dom Bellot. Mais dans ce plafond, les caissons<br />
polygonaux sont structuraux. Les grands pans rigides qu'ils produisent<br />
permettent de faire disparaltre !es arcs et en meme temps d'etablir<br />
une relation plus directe entre Ia <strong>for</strong>me <strong>in</strong>terieure et Ia <strong>for</strong>me<br />
exterieure de Ia chapelle.<br />
Desgagne et Boileau ont repete ce systeme structurale a l'eglise<br />
Sa<strong>in</strong>te-TMrese-d'Avila a Dolbeau, en 1946 (Fig. 4). lei, cependant,<br />
les caissons ont une tres faible pr<strong>of</strong>ondeur de sorte que ce sont plutot<br />
de m<strong>in</strong>ces dalles de bet on qui couvrent Ia nef. Leur resistance mo<strong>in</strong>s<br />
grande que celle des caissons de Ia chapelle de l'Hotel-Dieu explique<br />
aussi pourquoi les piliers sont beaucoup plus larges a leur sommet,<br />
de sorte que Ia coupe transversale de Ia nef se rapproche davantage<br />
du pr<strong>of</strong>il des arcs polygonaux de Dom Bellot. Mais ce ne sont toujours<br />
pas des arcs. Ce sont des dalles de beton paralleles aux pentes du toit<br />
et posees sur des piliers en beton.<br />
Quatre ans apres l'eglise de Dolbeau, Desgagne et Boileau construisaient<br />
l'eglise du Sa<strong>in</strong>t-Nom-de-Jesus a Riviere-du-Moul<strong>in</strong>, pres<br />
de Chicoutimi (Fig. 5 et 6). Sa fac;ade peut paraltre encore assez conservatrice,<br />
mais elle n'annonc;ait pas mo<strong>in</strong>s une nouveaute qu'allaient<br />
reprendre beau coup d'eglises des annees 50. On y trouve en effet pour<br />
Ia premiere fois ce traitement abstrait qui consiste a subdiviser la<br />
fac;ade en trois travees verticales, et a traiter Ia travee centrale comme<br />
une large ouverture entre deux masses so !ides. lei, les fenetres au-dessus<br />
du portail n'occupent pas une plus grande surface que les arcatures<br />
qui les encadrent, mais l'emploi de Ia brique beige contrastant<br />
avec Ia brique brune sur les cote revele bien un desir d'alleger le<br />
centre.<br />
C'est l'<strong>in</strong>terieur cependant qui presente les plus grandes<br />
nouveautes, a savoir une tendance grandissante vers !'abstraction<br />
geometrique. Des fenetres longues et etroites subdivisent le mur en<br />
travees carrees. Des piliers en fer, recouverts de platre et absolument<br />
rectangulaires, encadrent les fenetres. lis supportent les fermes<br />
metalliques de Ia toiture. Elles sont recouvertes de platre acoustique<br />
pour <strong>for</strong>mer des cavites pr<strong>of</strong>ondes, semblables a de grands entonnoirs,<br />
separees par d'epaisses poutres. L'importance que prennent ces<br />
poutres a pour resultat de reduire le volume de Ia nef a un simple<br />
parallalepipede. Meme les confessionnaux sont saillants a l'exterieur<br />
de l'eglise pour ne rien deranger au volume regulier de Ia nef.<br />
La nef est faiblement eclairee par une lumiere verdatre qui vient<br />
des fenetres. Par contraste, le choeur est eclaire de fac;on tres <strong>in</strong>tense,<br />
ala fois par de gran des fenetres a gauche et a droite que !'on ne voit<br />
pas de Ia nef et par dix-huit projecteurs diriges sur !'au tel. Les <strong>for</strong>mes<br />
3:88 SSAC BULLET!N 8E.A.C 13
'' •<br />
Figure B. A-Henri Tremblay, chapel/e Notre-Dame-de-Lourdes, Lac Bouchette,<br />
1949-1952, Far;ade pr<strong>in</strong>cipale (Photo: lnventalre des biens cutture/s).<br />
Figure 7, A-Henri Tremblay, Chapelle Notre-Dame-de-Lourdes, Lac-Bouchette,<br />
1949·1952. Plan (Photo: Journal <strong>of</strong> <strong>the</strong> Royal Architectural Institute <strong>of</strong> Canada),<br />
du choeur sont egalement def<strong>in</strong>ies suivant une geometric stricte. L'arc<br />
triomphal traditionnel entre Ia nef et le choeur est remplace par une<br />
ouverture rectangulaire encadree de deux pans de murs en brique<br />
pour reprendre Ia distribution tripartite de Ia fa~ade pr<strong>in</strong>cipale. Au<br />
fond du choeur, un pan de mur en pliitre blanc sert de fond lum<strong>in</strong>eux<br />
contre lequel se detache l'autel. Ce mur est encadre de chaque cote<br />
de quatre colonnes juxtaposees <strong>for</strong>mees par des briques disposees en<br />
dents de scie qui suggerent les plis d'un rideau qui s'entrouve pour<br />
reveler le crucifix. Tout demeure tres depouille et tres abstrait.<br />
Ces eglises de Leonce Desgagne, construites entre 1942 et 1950,<br />
etaient les premieres au Quebec a se debarrasser des arcs de que! que<br />
pr<strong>of</strong>il qu'ils soient eta atte<strong>in</strong>dre un tel niveau d'abstraction <strong>for</strong>melle,<br />
Mais c'est une oeuvre d'un autre architecte qui, Ia premiere, attira<br />
!'attention des specialistes sur !'<strong>architecture</strong> du Saguenay-Lac-Sa<strong>in</strong>t<br />
Jean. II s'agit de Ia petite chapelle de peler<strong>in</strong>age Notre-Dame-de<br />
Lourdes, a Lac-Bouchette (Fig. 7 et 8), dess<strong>in</strong>ee par A.-Henri<br />
Tremblay et construite en 1950 comme l'eglise de Riviere-du-Moul<strong>in</strong>.<br />
Immediatement, Gerard Morisset, Alan Gowans et quelques autres<br />
ont vu dans cette chapelle l'exemple d'un renouveau de !'<strong>architecture</strong><br />
religieuse qui respectait Ia tradition quebecoise. Sa voGte, les fa~ades<br />
du transept de meme que Ia fa~ade pr<strong>in</strong>cipale sont presque<br />
entierement <strong>for</strong>mees de parois de verre. Le plan est celui d'un triangle<br />
allonge, et le sommet de Ia voGte descend vers le choeur a<br />
mesure que le plan se retrecit a une geometric aussi elementaire de<br />
meme qu'aucune eglise n'avait vu sa <strong>for</strong>me <strong>in</strong>terne et externe<br />
determ<strong>in</strong>ee par une simple voGte en bet on.<br />
Figure 9, Paul-Marie C6te: Lf~once Desgagne et Paul Boileau, Sa<strong>in</strong>t-Marc, La<br />
Baie, 1955-1956. Far;ade pr<strong>in</strong>cipale (Photo: Architecture, btltiment, construction),<br />
Mais, c'est surtout l'eglise Sa<strong>in</strong>t-Marc a La Baie (Fig. 9, 10 et 11),<br />
commencee en 1955, qui donna le coup d'envoi a une <strong>architecture</strong> des<br />
plus affranchies. Dess<strong>in</strong>ee par Paul-Marie Cote, un jeune architecte<br />
qui venait de se jo<strong>in</strong>dre a Ia firme Desgagne et Boileau, cette eglise<br />
commence Ia celebre serie des eglises blanches et spectaculaires qu'on<br />
a construites dans plusieurs villes et villages du Saguenay-Lac-Sa<strong>in</strong>t<br />
Jeanjusque dans Ia deuxieme moitie des annees 60 et qui ont donne<br />
a cette region une renommee souda<strong>in</strong>e dans les milieux <strong>in</strong>teresses a<br />
!'<strong>architecture</strong>. Les revues d'<strong>architecture</strong> ont acclame l'eglise Sa<strong>in</strong>t<br />
Marc comme
~ ,_<br />
-~ ~-~'--<br />
~ ··---- · - · * ••• _,<br />
Figure 10. Paul-Marie CIJte: Leonce Desgagne et Paul Boileau, Sa<strong>in</strong>t-Marc, La<br />
Baie, 1955·1956. Plan (Photo: Architecture, Mtiment, construction).<br />
Figure 11. Paul-Marie CIJte: Leonce Desgagne et Paul Boileau, Sa<strong>in</strong>t-Marc, La<br />
Baie, 1955·1956. Nef (Photo: lnventaire des biens culturels).<br />
entierement en verre qui aide a preciser leur <strong>for</strong>me. Dans les deux<br />
cas, le clocher est separe du volume pr<strong>in</strong>cipal, et les deux constructions<br />
allient le beton, le verre et le granit. Surtout, elles etaient les<br />
deux seules a accorder une place aussi preponderante au beton et a<br />
reveler de fa~on aussi directe leur systeme structural dans leur <strong>for</strong>me<br />
exterieure. Paul-Marie Cote remplace Ia <strong>for</strong>me semi-circulaire par Ia<br />
<strong>for</strong>me triangulaire qu'il repete partout : dans le plan, les elevations,<br />
le clocher, les dents de scie au fa'ite de Ia toiture. Les versants du toit,<br />
d'une epaisseur de dix centimetres, se plissent aussi en pans triangulaires<br />
pour augmenter leur resistance. lis descendent jusqu'au<br />
plancher de Ia nef de sorte que l'<strong>in</strong>terieur n'est eclaire que par Ia<br />
grande paroi de Ia fa~ade et par les deux fa~ades du transept de chaque<br />
cote du choeur.<br />
L'effet obtenu est particulierement impressionnant a l'<strong>in</strong>terieur,<br />
ou Ia sequence des parois qui se dectoublent dans Ia moitie superieure<br />
cree un effet solennel semblable a celui de banderoles suspendues audessus<br />
de Ia nef. Eclaires uniquement par Ia fa~ade pr<strong>in</strong>cipale, ces<br />
parois etablissent une alternance de surfaces eclairees et de surfaces<br />
dans l'ombre de meme qu'une sequence de pans de mo<strong>in</strong>s en mo<strong>in</strong>s<br />
eclaires a mesure que !'on avance dans Ia nef. Par contraste, le choeur<br />
est abondamment eclaire par les grandes verrieres a chaque extremite<br />
du transept et qui ne sont pas visibles depuis Ia nef.<br />
La concentration de lumiere dans le choeur, Ia succession des<br />
parois de chaque cote de Ia nef et Ia reduction constante de l'espace<br />
<strong>in</strong>terieur ont pour effet de concentrer !'attention sur l'autel qui occupe<br />
un espace relativement etroit. Mais Ia structure en triangle imposait<br />
une limite a Ia largeur de Ia nef. Le plan de l'eglise Sa<strong>in</strong>t-Marc<br />
est en effet exceptionnellement long et etroit, surtout a cette epoque<br />
ou les ef<strong>for</strong>ts de Ia re<strong>for</strong>me liturgique tendaient a trouver des moyens<br />
de reunir les fideJes pres de !'au tel, dans des eglises de plan ramasse<br />
et meme centre.<br />
Ce qui dist<strong>in</strong>gue surtout Sa<strong>in</strong>t-Marc de Ia chapelle de Lac<br />
Bouchette, c'est !'elan de Ia premiere par opposition au pr<strong>of</strong>il bas de<br />
Ia derniere qui cherche a s'enrac<strong>in</strong>er dans le sol. A cause de son elan,<br />
Sa<strong>in</strong>t-Marc annonce bien Ia nouvelle generation des eglises du<br />
Saguenay- Lac-Sa<strong>in</strong>t-Jean tandis que Ia chapelle Notre-Dame-de<br />
Lourdes s'en dist<strong>in</strong>gue. Dans Ia <strong>for</strong>me triangulaire, dans Ia fa~on de<br />
retrousser Ia toiture au-dessus de Ia fa~ade pr<strong>in</strong>cipale et surtout dans<br />
le clocher qui se dresse comme une aiguille, on sent une volonte<br />
d'imprimer un elan a cette construction. Quelque temps avant de construire<br />
Sa<strong>in</strong>t-Marc, Leonce Desgagne disait qu'une eglise est «Un ensemble<br />
de materiaux ordonnes de fa~on a tendre vers Dieu, a<br />
constituer une priere, des ma<strong>in</strong>s jo<strong>in</strong>tes vers le ciel, comme Rod<strong>in</strong> l'a<br />
si bien compris et illustre» 5 (Fig. 12).<br />
L'eglise suivante de Desgagne et Cote illustre bien cette conception.<br />
C'est l'eglise Notre-Dame-de-Fatima a Jonquiere, commencee<br />
en 1962 (Fig. 13). Elle se compose de deux demi-cones decales l'un<br />
par rapport a !'autre et relies entre eux par deux bandeaux de verre<br />
cont<strong>in</strong>us du sol jusqu'au sommet de !'edifice. L'un des cones se<br />
pro Ionge en une courbe adoucie pour <strong>for</strong>mer une fleche qui devait, a<br />
l'orig<strong>in</strong>e, porter les cloches.<br />
Cette eglise annonce !'<strong>in</strong>fluence des oeuvres d'Oscar Niemeyer<br />
dont les architectes du Saguenay-Lac-Sa<strong>in</strong>t-Jean semblent avoir<br />
particulierement apprecie !'elegance et le raff<strong>in</strong>ement. Son plan est<br />
<strong>for</strong>me de deux demi-cercles decales comme le plan de Ia chapelle du<br />
3:88 SSAC BULLETIN SEAC 15
Figure 13. Leonce Oesgagne et Paul-Marie C6te, Notre-Dame·de·Fatima,<br />
Jonquiere, 1962·1963. Extl'!rieur (Photo: lnventalre des biens cu/turels).<br />
se trouve meme accru, puisque vers le sommet les pentes se redressent<br />
presque a Ia verticale tandis que Ia distance de 1 m 20 qui les<br />
separe procure une ouverture sur le ciel qui laisse entrer Ia lumiere<br />
zenithale sur toute Ia longueur de l'espace <strong>in</strong>terne. L'emploi de deux<br />
pliitres differents fait altemer les te<strong>in</strong>tes et def<strong>in</strong>it des bandes flechies<br />
qui, semblables a des banderoles, creent une ambiance de majeste et<br />
surtout de douceur, d'autant plus que Ia lumiere zenithale se degrade<br />
lentement en glissant sur ces surfaces courbes pendant que Ia lumiere<br />
venue de Ia fa~ade pr<strong>in</strong>cipale dim<strong>in</strong>ue d'<strong>in</strong>tensite a mesure que !'on<br />
s'approche du choeur.<br />
Figure 12. Auguste Rod<strong>in</strong>, La Cathfldrale, 1908 (Photo: Jean Cassou, Rod<strong>in</strong><br />
Sculptures, Paris, Fernand Hazan).<br />
Palais de l'Aurore a Brasilia, construite en 1958 (Fig. 14 et 17). A<br />
cause de ses gran des dimensions, l'eglise de Jonquiere ne pouvait pas<br />
etre couverte d'un plafond plat comme Ia chapelle de Brasilia (Fig.<br />
16). De Ia est probablement venue !'idee d'<strong>in</strong>cl<strong>in</strong>er les deux bandes<br />
de beton qui s'arrondissent en se faisant face, pour a<strong>in</strong>si arriver a Ia<br />
<strong>for</strong>me du tipi.<br />
C'est l'<strong>in</strong>terieur (Fig. 15) qui est surtout impressionnant par<br />
l'ampleur de son volume, son denuement et les effets lum<strong>in</strong>eux. Les<br />
fideles ne voient pas les ouvertures par ou entre Ia lumiere. Ils ne<br />
voient que Ia lumiere qui se degrade sur les grandes parois arrondies,<br />
couvertes d'amiante soufflee qui leur donne une texture grossiere.<br />
Entre Ia lumiere vive a !'entree et a l'autel, Ia nef est plongee dans<br />
une calme penombre.<br />
Si Ia coupe transversale strictement triangulaire de Sa<strong>in</strong>t-Marc a<br />
La Baie 1mposait une nef etroite qui allait a l'encontre des preceptes<br />
de Ia nouvelle liturgie, les architectes St-Gelais et Tremblay, auteurs<br />
de l'eglise Sa<strong>in</strong>t-Raphael a Jonquiere, ont contoume cette difficulte<br />
en excurvant les pentes du toit (Fig.18 et Ia t~ouverture). Ils pouvaient<br />
a<strong>in</strong>si elargir Ia nef tout en mai.ntenant !'elan vertical. En fait, cet elan<br />
La nef est completement depouillee. Les quelques elements de<br />
mobilier sont tous soit dans le choeur ferme par un mur de bois, agissant<br />
comme un immense retable <strong>in</strong>dependant de Ia structure, soit a<br />
!'entree dans l'eglise. A cet endroit, les confessionneaux servent de<br />
supports a Ia gal erie de l'orgue en meme temps qu'ils separent le nar<strong>the</strong>x<br />
au centre du baptistere a gauche et de l'escalier a droite. Le<br />
plancher de Ia galerie traverse Ia paroi de verre de Ia fa~ade , pour<br />
<strong>for</strong>mer a l'exterieur une marquise au-dessus du portail, avec le resultat<br />
que cette dalle horizontale en beton n'a aucun support apparent. La<br />
fa~ade acquiert une grace aerienne, puisque les parties so !ides ne se<br />
rejoignent jamais. La marquise a !'air suspendue dans le vide. Ellene<br />
rejo<strong>in</strong>t pas non plus les versants du toit pas plus que ceux-ci ne se<br />
rejoignent entre eux. Les longues marches du perron sont aussi des<br />
dalles delicates en beton qui ont !'air de flotter dans l'espace. Ce raff<strong>in</strong>ement<br />
maniere est typique de beau coup d'oeuvres de Niemeyer qui<br />
se plaisait a presenter de grandes dalles m<strong>in</strong>ces comme si elles etaient<br />
suspendues dans les airs (Fig. 16) ou portees par des supports reduits<br />
a de f<strong>in</strong>es po<strong>in</strong>tes (Fig. 19).<br />
Sa<strong>in</strong>t-Raphael marque aussi le debut d'une tendance qui<br />
caracterise les eglises des annees 60 au Saguenay- Lac-Sa<strong>in</strong>t-Jean.<br />
Ces eglises suggerent un vigoureux elan vers le ciel en meme temps<br />
qu'elles se deploient largement pour couvrir le sol. L'eglise du petit<br />
village de Larouche illustre bien cette double caracteristique (Fig. 20).<br />
16 SSAC BULLETI!•! SEAG 3:88
Ci-dt~soou:<br />
Plan du rez-de-chaussee<br />
La nef vers l'entru et les fonts baptismaux.<br />
Detail de l'entru pr<strong>in</strong>cipale.<br />
Aspect des confessioMaux, au del& des<br />
fonts baptismaux.<br />
Sur Ia page de droilt :<br />
Le choeur et le maitre autel<br />
Figure 14. Leonce Desgagne et Paul-Marie C6te, Notre-Dame-de-Fatima, Jonquiere, 1962-1963. Plan (Photo: Architecture, Mtiment, construction).<br />
Figure 16. Oscar Niemeyer, Chapelle du Palais de I'Aurore, Brasilia, 1958.<br />
Exterieur (Photo: Stamo Papadakl, Oscar Neimeyer, New-York, George Braziller<br />
Inc., 1960).<br />
Figure 15. Leonce Desgagne et Paul-Marie Cote, Notre-Dame-de-Fatima,<br />
Jonquiere, 1962-1963. lnterieur (Photo: auteur).<br />
Figure 17. Oscar Niemeyer, Chapelle du Palais de I'Aurore, Brasilia, 1958. Plan<br />
et elevations (Photo: Stamo Papadaki, Oscar Niemeyer, New-York, George<br />
Braziller Inc. , 1960).<br />
Elle fut construite par St-Gelais et Tremblay immediatement apres<br />
qu'ils eurent acheve l'eglise Sa<strong>in</strong>t-Raphael. Son plan procede d'une<br />
croix grecque dont les bras se rejoignent par des segments de cercle.<br />
La masse basse et largement etalee de cette eglise est couverte de<br />
deux grandes surfaces courbes accolees qui rappellent Sa<strong>in</strong>t-Raphael.<br />
Ces courbes sont calculees pour prolonger leur elan ascendant vers<br />
le sommet du clocher qui se dresse devant le portail.<br />
Alors que les eglises Sa<strong>in</strong>t-Marc, Notre-Dame-de-Fatima et Sa<strong>in</strong>t<br />
Raphael soulignaient davantage !'elan vers le ciel, celles qui suivront<br />
l'eglise de Larouche chercheront, comme celle-ci, a realiser plutot un<br />
equilibre entre !'elan vers le ciel et le lien avec le sol. L'eglise de<br />
Roberval, dess<strong>in</strong>ee par St-Gelais, Tremblay et Tremblay, montre bien<br />
cet equilibre. Elle <strong>for</strong>me une grande pyramide de plan carre, portee<br />
3:88 SSAC BULLETIN SEAC 17
Figure 19. Oscar Niemeyer, Palais de /'Aurora, Brasilia, 1959. Fa~ade (Photo:<br />
Stamo Papadakl, Oscar Niemeyer, New-York, George Braziller Inc., 1960).<br />
Figure 18. Evans St-Gelais et Fernand Tremblay, Sa<strong>in</strong>t-Raphael, Jonquiere,<br />
1959·1960 (Photo: Architectes St·Gelais, Tremblay et Belanger).<br />
par trois piliers trapus en beton sur chacun des cotes (Fig. 21). Chaque<br />
pilier est <strong>for</strong>me de deux lames disposees a angle droit pour<br />
recevoir Ia poussee des chevrons qui sont orientes diagonalement par<br />
rapport au plan. Le toit lourd descend tres bas et deborde les murs<br />
de beaucoup. Tout autour de l'eglise, le sol a ete releve en talus<br />
comme pour rejo<strong>in</strong>dre le plus possible les pentes du toit. Par contre,<br />
au sommet de Ia pyramide, un campanile Ieger aux courbes gracieuses<br />
po<strong>in</strong>te vers le ciel. II est meme detache de Ia toiture en cuivre par un<br />
bandeau de verre cont<strong>in</strong>u qui eclaire le centre de l'eglise.<br />
Le lien avec le sol s'affermit encore lorsqu'on penetre dans<br />
l'eglise. Le portail est deja plus bas que le niveau du sol de chaque<br />
cote de lui et, une fois que le visiteur penetre dans Ia nef, il cont<strong>in</strong>ue<br />
a descendre puisque le plancher <strong>for</strong>me un amphi<strong>the</strong>atre autour de<br />
l'autel qui occupe le centre du plan (Fig. 22). A l'<strong>in</strong>terieur aussi, le<br />
toit appara!t tres lourd avec ses puissants chevrons en bet on brut qui<br />
ctelimitent des grands caissons en losange. Les panneaux de bois au<br />
fond des caissons cachent Ia source d'eclairage artificiel. Seul un<br />
m<strong>in</strong>ce filet de lumiere passe dans l'etroite ouverture entre le panneau<br />
de bois et le chevron de beton.<br />
L'eglise Sa<strong>in</strong>t-Mathias a Arvida presente elle aussi cet elan vertical<br />
en meme temps qu'elle tend a se deployer sur une grande superfide<br />
de terra<strong>in</strong> (Fig. 23). Son architecte, Jacques Coutu, a lui aussi<br />
con~truit plusieurs eglises remarquables dans Ia region au cours des<br />
annees 60. L'eglise Sa<strong>in</strong>t-Mathias s'est merite le Canadian Wood<br />
Design Award en 1965. Son plan <strong>for</strong>me un hexagone allonge (Fig. 25).<br />
Tout autour de Ia nef, des salles diverses et des chapelles sont logees<br />
dans une structure basse en bet on. Cette construction lourde, percee<br />
de fenetres tres etroites que des saillies tentent de dissirnuler, <strong>for</strong>me<br />
comme une grande ce<strong>in</strong>ture horizontale au tour du toit pyramidal qui<br />
couvre Ia nef. L'elan de cette toiture etait a l'orig<strong>in</strong>e beaucoup plus<br />
marque, tant a l'<strong>in</strong>terieur qu'a l'exterieur, puisque d'etroits bandeaux<br />
de verre occupaient chacune des aretes depuis Ia base jusqu'au sommet<br />
de Ia pyramide (Fig. 24).<br />
Si Ia plupart d'entre nous reconnaissons une eglise a ce schema<br />
d'un carre auquel se superposent un triangle obtus et un triangle aigu,<br />
au Saguenay Lac-Sa<strong>in</strong>t-Jean Ia silhouette de deux elegantes courbes<br />
adossees etait a tel po<strong>in</strong>t caracteristique des eglises nouvelles que c'est<br />
a<strong>in</strong>si que !'on identifiait Ia chapelle sur le tableau des renseignements<br />
Figure 20. Evans St-Gelais et Fernand Tremblay, Sa<strong>in</strong>t-Gerard-Magella,<br />
Larouche, 1960. Fa~de pr<strong>in</strong>cipale (Photo: Architecture, Mtiment, construction).<br />
a l'Hopital de Jonquiere (Fig. 26). Cette silhouette, l'architecte<br />
america<strong>in</strong> Victor Lundy l'avait deja exploitee dans certa<strong>in</strong>es de ses<br />
eglises, comme a l'eglise Sa<strong>in</strong>t Paul a Sarasota en Floride, en 1955. 11<br />
l'<strong>in</strong>terpretait de Ia fac;on suivante :
Figure 21. St·Gelais, Tremblay et Tremblay, Notre-Dame-lmmacu/ee, Robervat, 1966-1967. Exterieur (Photo: auteur).<br />
coupole translucide de 23 metres de diametre. Celle-ci est faite de<br />
trois couches de matiere plastique.<br />
Des Ia premiere annee, l'eau s'est <strong>in</strong>filtree dans le toit et dans les<br />
murs. En 1967, trois ans apres Ia f<strong>in</strong> des travaux, un expert estimait<br />
que cette eglise, construite au cout de $469 000, exigeait des<br />
reparations de l'ordre de $150 000. Des ce moment, Ia fabrique<br />
decida d'entreprendre des poursuites judiciaires contre les architectes,<br />
!es <strong>in</strong>genieurs et !'entrepreneur. Ce n'est qu'en 1971 que des poursuites<br />
pour $300 000 furent <strong>in</strong>tentees, a Ia suite d'un rapport<br />
d'<strong>in</strong>genieurs conseils qui condamnait l'eglise. Les murs etaient<br />
fendilles jusqu'aux fondations. Les cloches et l'orgue ne fonctionnaient<br />
plus. La cause fut entendue par Ia Cour supreme en 1982.<br />
Entretemps, l'architecte Paul-Marie Cote etait decede d'une crise cardiaque<br />
et, peu de temps apres, son associe, Leonce Desgagne, m<strong>in</strong>e<br />
par Ia tournure des evenements, se laissait mourir a son tour.<br />
Figure 22. St-Gelais, Tremblay et Tremblay, Notre-Dame-lmmaculee, Roberval,<br />
1966-1967. lnterieur (Photo: auteur).<br />
Depuis 1967, l'epoque hero!que de Ia construction des eglises au<br />
Saguenay- Lac-Sa<strong>in</strong>t-Jean a vraiment pris f<strong>in</strong>. La comme ailleurs, une<br />
stabilisation de Ia population jo<strong>in</strong>te a une baisse de Ia pratique<br />
3:88 SSAC BULLETIN SEAC 19
Figure 23. Jacques Coutu, Sa<strong>in</strong>t-Mathias, Arvida, 1964-1965. Exterleur (Photo: auteur).<br />
religieuse ont presque reduit a zero le beso<strong>in</strong> de construire de nouvelles<br />
eglises. II fallut bien parfois biitir pour remplacer d'anciennes constructions,<br />
mais l'enthousiasme de Ia premiere moitie des annees 60<br />
n'y etait plus. A Sa<strong>in</strong>t-Philippe, ou l'audace architecturale avait coute<br />
plus cher que partout ailleurs, on a meme durant un certa<strong>in</strong> temps<br />
renonce a reconstruire. On envisagea de saborder Ia paroisse et de<br />
distribuer sa population dans les paroisses avois<strong>in</strong>antes. Mais apres<br />
avoir gagne sa cause devant les tribuneaux, Ia paroisse decidait enfm<br />
en 1986 de construire une eglise beau coup mo<strong>in</strong>s audacieuse que celle<br />
qui v<strong>in</strong>gt ans auparavant lui avait cause beaucoup d'ennuis.<br />
20 SSAC BULLETIN SEAC 3:88
Figure 24. Jacques Coutu, Sa<strong>in</strong>t-Mathias, Arvida, 1964·1965. lnterieur a /'eta/<br />
d'orig<strong>in</strong>e (Photo: Architecture, Mtiment, construction).<br />
Figure 27. Leonce Desgagne et Paul-Marie Cdte, Salnt·Phlllppe, Arvlda,<br />
1963·1964. Planet coupe (Photo: Architecture, Mtiment, construction).<br />
Figure 25. Jacques Coutu, Sa<strong>in</strong>t-Mathias, Arvida, 1964·1965. Plan (Photo:<br />
Canadian Catholic Institutions).<br />
Figure 28. Leonce Oesgagne et Paul-Marie Cdte, Salnt·Philippe, Arvlda,<br />
1963·1964. Net (Photo: Architecture, Mtiment, construdion).<br />
Notes<br />
1 Jean-Paul Rouleau, Chicoutimi: contexte socio-re/igieux et adoptation pastorale,<br />
Quebec, Universite LavaL 1968, p. 67.<br />
2 Ibid., p. 67-68.<br />
3 Pour ces oeuvres traditionnalistes de Uonce Desgagne, voir Claude Bergeron,<br />
L'<strong>architecture</strong> des eglises du Quebec, 1940-1985, Quebec, Les Presses de<br />
l'Universite Laval, 1987, p. 163-168.<br />
4Architecture, Mtiment, constJUCtion, XII, no 130 (fevrier 1957), p. 39.<br />
5 Uonce Desgagne, « Urgence d'un eveil en <strong>architecture</strong> religieuse>>, Ms et pensee,<br />
3e annee, no 15 Ganvier-fevrier 1954), p. 84.<br />
Figure 26. HBpital de Jonquiere, Jonquiere. Tableau des renseignements (Photo:<br />
auteur).<br />
6 Walter McQuade, 'Lundy's Personal Architecture,' Architectural Forum, CXl, no 6<br />
(decembre 1959), p. 105.<br />
3:88 SSAC BULLETIN SEAC 21
S<strong>in</strong>ce <strong>the</strong> late n<strong>in</strong>eteenth century <strong>the</strong> <strong>of</strong>fice build<strong>in</strong>g has<br />
evolved from low-rise <strong>of</strong>fice/warehouse to high-rise <strong>of</strong>fice<br />
tower. This has occurred <strong>for</strong> numerous reasons, from new build<strong>in</strong>g<br />
materials to economic prosperity. Rampant capitalism set <strong>the</strong><br />
stage <strong>for</strong> developers to get more money per square foot <strong>of</strong> land<br />
than ever be<strong>for</strong>e because <strong>the</strong>re was more usable space available<br />
when more floors were added. S<strong>in</strong>ce those footloose days many<br />
th<strong>in</strong>gs have been changed <strong>in</strong> an attempt to encourage designs <strong>of</strong><br />
high quality: <strong>the</strong>re are now laws regulat<strong>in</strong>g height, density, and<br />
air space rights; <strong>the</strong>re exist heritage groups and protected build<strong>in</strong>gs;<br />
<strong>the</strong>re are symbolic "oranges" and "lemons" <strong>in</strong> recognition<br />
<strong>of</strong> good or bad <strong>architecture</strong>. The <strong>of</strong>fice build<strong>in</strong>g is <strong>the</strong> type most<br />
affected by many <strong>of</strong> <strong>the</strong>se <strong>in</strong>itiatives. Consequently, designers <strong>of</strong><br />
<strong>of</strong>fice build<strong>in</strong>gs are now explor<strong>in</strong>g <strong>in</strong>novative<br />
po:ssit>ilil:ies<strong>for</strong> <strong>the</strong>ir clients.<br />
La Maison Ultramar: A Short Build<strong>in</strong>g<br />
by Donna McGee<br />
22<br />
SSAC BULLETIN SEAC 3:88
La Maison Ultramar is <strong>the</strong> name given to <strong>the</strong> head <strong>of</strong>fice <strong>for</strong><br />
Ultramar Canada Inc. currently under development on McGill<br />
College Avenue. It is not to be a tall build<strong>in</strong>g. In fact, it will rise<br />
only six storeys <strong>in</strong> all, mak<strong>in</strong>g it a ra<strong>the</strong>r short build<strong>in</strong>g by modem<br />
standards. Its <strong>in</strong>terest lies <strong>in</strong> <strong>the</strong> development concept- tak<strong>in</strong>g its<br />
cue from La Maison Alcan, it is to share a city block with a number<br />
<strong>of</strong> o<strong>the</strong>r build<strong>in</strong>gs, and will try to unify that block. Perhaps<br />
<strong>the</strong> most <strong>in</strong>terest<strong>in</strong>g aspect <strong>of</strong> this project is that <strong>the</strong> architects<br />
<strong>in</strong>volved have consulted <strong>the</strong> archives which hold <strong>the</strong> plans <strong>for</strong> two<br />
o<strong>the</strong>r important build<strong>in</strong>gs on that site, <strong>the</strong> Molson House, built<br />
by Robert F<strong>in</strong>dlay <strong>in</strong> 1906, and <strong>the</strong> University Club, built <strong>in</strong> 1912-<br />
13 by Percy E . Nobbs. Bound by Sherbrooke Street, McGill College<br />
Avenue, President Kennedy Avenue, and Mansfield Street,<br />
it is a prime location <strong>in</strong> Montreal <strong>for</strong> a head <strong>of</strong>fice.<br />
The design <strong>of</strong> this project<br />
could be<br />
considered to be postmodern <strong>for</strong> various reasons. "Postmodem" is a<br />
slippery term, connot<strong>in</strong>g on one hand a chronological demarcation<br />
follow<strong>in</strong>g modernism and, on <strong>the</strong> o<strong>the</strong>r hand, a renewal <strong>of</strong> a premodernist<br />
architectural vocabulary. But it is usually used <strong>in</strong> a pejorative<br />
or even humourous way. It can also mean contextual, <strong>in</strong> contrast<br />
to <strong>the</strong> placeless nature <strong>of</strong> <strong>the</strong> so-called International Style. In this<br />
project, it does not refer to superficial references to older styles, <strong>for</strong><br />
unlike, say, La Maison des Cooperants and <strong>the</strong> adjo<strong>in</strong><strong>in</strong>g Les<br />
Promenades de Ia Ca<strong>the</strong>drale, its contextualism is not just a vulgar<br />
visual reference to its surround<strong>in</strong>gs. Nor is its postmodernism an attempt<br />
to imitate <strong>the</strong> styles <strong>of</strong> <strong>the</strong> important yet disparate build<strong>in</strong>gs on<br />
<strong>the</strong> block; ra<strong>the</strong>r, it is an attempt to harmonize with <strong>the</strong>se turn-<strong>of</strong>-<strong>the</strong>century<br />
build<strong>in</strong>gs as well as with <strong>the</strong> nearby new build<strong>in</strong>gs, and to complement<br />
<strong>the</strong> style <strong>of</strong> McGill College Avenue itself.<br />
It was, <strong>in</strong> fact, <strong>the</strong> architects' <strong>in</strong>terest <strong>in</strong> <strong>the</strong> plans <strong>of</strong> <strong>the</strong> Molson<br />
House and <strong>the</strong> University Club which resulted <strong>in</strong> an exhibition <strong>of</strong> <strong>the</strong><br />
Ultramar project at McGill University. Sponsored by <strong>the</strong> First<br />
Quebec Corporation, <strong>the</strong> developers <strong>of</strong> <strong>the</strong> project,<br />
<strong>the</strong> exhibition was mounted by <strong>the</strong> Canadian<br />
Architecture Collection <strong>of</strong> McGill, which holds <strong>the</strong><br />
archives <strong>for</strong> <strong>the</strong> historic build<strong>in</strong>gs on that block.<br />
The exhibition attempted to portray <strong>the</strong> spirit <strong>of</strong><br />
co-operation between <strong>the</strong> present architects, big<br />
bus<strong>in</strong>ess, and, through <strong>the</strong>ir documents, <strong>the</strong> architects<br />
<strong>of</strong> <strong>the</strong> past. The stress was on <strong>the</strong> development<br />
<strong>of</strong> <strong>the</strong> site, from farmland to residential area<br />
to corporate location.<br />
In <strong>the</strong> past few years, <strong>the</strong> four-block long Mc<br />
Gill College Avenue has been developed <strong>in</strong>to a<br />
boulevard, complete with a central island, more<br />
traffic lanes, and wider sidewalks with trees and<br />
flower pots. Crowned by McGill University to <strong>the</strong><br />
3:88<br />
SSAC BULLETIN SEAC 23
north and stretch<strong>in</strong>g south to Place Ville Marie, <strong>the</strong> avenue has become<br />
one <strong>of</strong> <strong>the</strong> most prestigious addresses <strong>for</strong> corporations. Many<br />
<strong>of</strong> <strong>the</strong> build<strong>in</strong>gs between St. Ca<strong>the</strong>r<strong>in</strong>e and Sherbrooke Streets take<br />
up one whole block each-<strong>the</strong> Montreal Trust complex, <strong>the</strong> Industrial<br />
Life tower, <strong>the</strong> Banque Nationale de Paris build<strong>in</strong>g, and Place Mercantile,<br />
which flanks McGill's Strathcona Hall on two sides and <strong>in</strong>corporates<br />
some recycled greystone fa~ades .<br />
The block which <strong>the</strong> Maison Ultramar is to occupy conta<strong>in</strong>s three<br />
important build<strong>in</strong>gs: <strong>the</strong> previously mentioned University Club and<br />
Molson House, and <strong>the</strong> Maxwelton, built by Edward and William S.<br />
Maxwell <strong>in</strong> 1914. (The Maxwelton is now known as Chateau Nasso.)<br />
A fourth build<strong>in</strong>g, a pla<strong>in</strong>, modernist box called <strong>the</strong> Landau build<strong>in</strong>g,<br />
is situated on <strong>the</strong> sou<strong>the</strong>ast corner <strong>of</strong> Sherbrooke and Mansfield. Beside<br />
it, across <strong>the</strong> alley on Mansfield, a small apartment build<strong>in</strong>g which<br />
recently housed <strong>the</strong> Kyoto Japanese Steakhouse has been torn down<br />
to make way <strong>for</strong> part <strong>of</strong> <strong>the</strong> complex. The three older build<strong>in</strong>gs vary<br />
<strong>in</strong> style from <strong>the</strong> Norman Shaw-like eclecticism <strong>of</strong> <strong>the</strong> Molson House,<br />
to <strong>the</strong> Arts and Crafts-<strong>in</strong>fluenced University Club, to <strong>the</strong> Chicago<br />
School-type antecedents <strong>of</strong> <strong>the</strong> Maxwelton.<br />
La Maison Ultramar <strong>in</strong>corporates <strong>in</strong> vary<strong>in</strong>g degrees three <strong>of</strong> <strong>the</strong><br />
four build<strong>in</strong>gs. The University Club will be surrounded on <strong>the</strong> north<br />
and east sides by <strong>the</strong> Ultramar build<strong>in</strong>g, and its south side, which borders<br />
on President Kennedy Avenue, will be f<strong>in</strong>ished <strong>in</strong> <strong>the</strong> spirit <strong>of</strong><br />
that Club's style. S<strong>in</strong>ce Nobbs assumed that ano<strong>the</strong>r build<strong>in</strong>g would<br />
flank <strong>the</strong> south side, that wall was never given a "f<strong>in</strong>ish."<br />
Bruce Anderson, <strong>of</strong> Anderson Architects, is responsible <strong>for</strong> <strong>the</strong><br />
design <strong>of</strong> <strong>the</strong> south elevation <strong>of</strong> <strong>the</strong> Club. The transitional section between<br />
it and <strong>the</strong> Ultramar build<strong>in</strong>g is a glass curta<strong>in</strong> wall, deemed to<br />
be <strong>the</strong> most neutral solution to <strong>the</strong> problem <strong>of</strong> jo<strong>in</strong><strong>in</strong>g <strong>the</strong> build<strong>in</strong>gs.<br />
It was designed by <strong>the</strong> architectural firm Tolch<strong>in</strong>sky and Goodz, who<br />
are responsible <strong>for</strong> <strong>the</strong> design <strong>of</strong> La Maison Ultramar. Like <strong>the</strong><br />
orig<strong>in</strong>al exist<strong>in</strong>g fa~ade, <strong>the</strong> south wall <strong>of</strong> <strong>the</strong> Club will be f<strong>in</strong>ished <strong>in</strong><br />
red brick and yellow sandstone. The east and north sides will be<br />
repaired, but generally left as <strong>the</strong>y are.<br />
The Molson House will be flanked <strong>in</strong> <strong>the</strong> rear by <strong>the</strong> Maison<br />
Ultramar, and will be restored as much as possible and o<strong>the</strong>rwise<br />
renovated by Tolch<strong>in</strong>sky and Goodz. Un<strong>for</strong>tunately, this once prestigious<br />
house, built <strong>for</strong> Dr. William Alexander Molson, senior<br />
physician <strong>of</strong> <strong>the</strong> Montreal General Hospital, has fallen to ru<strong>in</strong> from<br />
neglect. The orig<strong>in</strong>al plans <strong>in</strong>dicate a large wait<strong>in</strong>g room and a consult<strong>in</strong>g<br />
room and coat room <strong>for</strong> receiv<strong>in</strong>g patients <strong>in</strong> Dr. Molson's<br />
private practice. The renovated structure will be available <strong>for</strong> rent <strong>for</strong><br />
pr<strong>of</strong>essional <strong>of</strong>fices.<br />
The top two floors <strong>of</strong> <strong>the</strong> Landau build<strong>in</strong>g will probably be torn<br />
down, to be replaced with three floors. The ro<strong>of</strong> will slope at an angle<br />
similar to that <strong>of</strong> <strong>the</strong> Molson House, and will be clad <strong>in</strong> copper. The<br />
exterior will be ref<strong>in</strong>ished to match <strong>the</strong> rest <strong>of</strong> <strong>the</strong> project. Ultramar<br />
will occupy <strong>the</strong> top two floors and <strong>the</strong>se will be l<strong>in</strong>ked by a catwalk to<br />
<strong>the</strong> part <strong>of</strong> <strong>the</strong> build<strong>in</strong>g adjacent to <strong>the</strong> University Club.<br />
The ma<strong>in</strong> Ultramar build<strong>in</strong>g will be covered <strong>in</strong> polished granite<br />
and brick and capped at <strong>the</strong> entrance on <strong>the</strong> corner <strong>of</strong> McGill College<br />
and President Kennedy with a copper-clad turret. All <strong>the</strong>se<br />
materials refer to various build<strong>in</strong>gs <strong>in</strong> <strong>the</strong> immediate vic<strong>in</strong>ity. For example,<br />
<strong>the</strong> use <strong>of</strong> copper relates to <strong>the</strong> ro<strong>of</strong>s <strong>of</strong> <strong>the</strong> Molson House<br />
and to many McGill University build<strong>in</strong>gs across <strong>the</strong> street. Polished<br />
granite was used <strong>in</strong> <strong>the</strong> neighbour<strong>in</strong>g Industrial Life tower, and brick<br />
is used <strong>in</strong> <strong>the</strong> University Club. The McGill College corner entrance<br />
will be rounded <strong>of</strong>f and framed by a corniced projection on ei<strong>the</strong>r side<br />
<strong>of</strong> <strong>the</strong> entrance arch, which has radiat<strong>in</strong>g voussoirs like those at <strong>the</strong><br />
entrance to <strong>the</strong> University Club. Like <strong>the</strong> Alcan build<strong>in</strong>g, some areas<br />
<strong>of</strong> La Maison Ultramar will be lit by skylights; one public space, to be<br />
covered by what <strong>the</strong> architects call a light court, may be used as exhibition<br />
or concert space. The First Quebec Corporation and Ultramar<br />
have also planned <strong>for</strong> retail spaces on <strong>the</strong> ground floor.<br />
Ano<strong>the</strong>r entrance on Mansfield Street beside <strong>the</strong> University Club,<br />
lead<strong>in</strong>g to <strong>the</strong> <strong>in</strong>ner light court and retail stores, will repeat <strong>the</strong> motifs<br />
<strong>of</strong> <strong>the</strong> McGill College side. There will also be a passage to <strong>the</strong> Metro,<br />
<strong>the</strong>reby expand<strong>in</strong>g <strong>the</strong> underground shopp<strong>in</strong>g network, and provid<strong>in</strong>g<br />
wea<strong>the</strong>r protection at a greater distance from <strong>the</strong> station. By open<strong>in</strong>g<br />
up its head <strong>of</strong>fice to pedestrian traffic, Ultramar is imply<strong>in</strong>g<br />
approachability; and like Alcan, by provid<strong>in</strong>g a pleasant environment,<br />
that company bespeaks its concern, whe<strong>the</strong>r real or feigned, <strong>for</strong> <strong>the</strong><br />
public which has helped it prosper as a company. The rent from <strong>the</strong><br />
retail stores will probably also help pay <strong>the</strong> bills. The expected cost <strong>of</strong><br />
<strong>the</strong> project is thirty million dollars.<br />
Complexes like <strong>the</strong> Alcan and Ultramar build<strong>in</strong>gs are a welcome<br />
relief from <strong>the</strong> seem<strong>in</strong>gly unend<strong>in</strong>g proliferation <strong>of</strong> tall glass boxes <strong>in</strong><br />
a city that still has undeveloped lots downtown (Dorchester Street<br />
and <strong>the</strong> <strong>for</strong>mer railway corridor come to m<strong>in</strong>d). Prior to Ultramar's<br />
<strong>in</strong>clusion <strong>in</strong> <strong>the</strong> project, The Laurentian Group, which had owned <strong>the</strong><br />
lot, had planned a twenty-four storey <strong>of</strong>fice tower <strong>for</strong> <strong>the</strong> site. Strong<br />
objections at that time by heritage groups such as Sauvons Montreal<br />
and Heritage Montreal caused <strong>the</strong> developers to re-th<strong>in</strong>k <strong>the</strong> issue,<br />
which allowed enough time <strong>for</strong> <strong>the</strong> University Club to be declared a<br />
historic monument. S<strong>in</strong>ce <strong>the</strong> Molson House was owned by The<br />
Laurentian Group, it seems that no one decided to do <strong>the</strong> research<br />
and report necessary to protect that build<strong>in</strong>g. As it turns out, however,<br />
<strong>the</strong> developers and Ultramar have won praise <strong>for</strong> <strong>the</strong>ir heritage-conscious<br />
decision to preserve <strong>the</strong> old house.<br />
Because <strong>of</strong> <strong>the</strong> small number <strong>of</strong> storeys and <strong>the</strong> modest size <strong>of</strong> <strong>the</strong><br />
build<strong>in</strong>g, <strong>the</strong> employees <strong>of</strong> Ultramar and o<strong>the</strong>rs who will work <strong>in</strong> <strong>the</strong><br />
complex will spend <strong>the</strong>ir time <strong>in</strong> a human-scaled environment. This is<br />
probably appropriate <strong>for</strong> a company that fled <strong>the</strong> prov<strong>in</strong>ce <strong>in</strong> 1976<br />
after <strong>the</strong> election <strong>of</strong> <strong>the</strong> Parti Quebecois, proceeded to lose eighty<br />
million dollars between 1980 and 1985, and <strong>the</strong>n returned to <strong>the</strong><br />
prov<strong>in</strong>ce, imply<strong>in</strong>g that <strong>the</strong>y had erred by mov<strong>in</strong>g <strong>in</strong> <strong>the</strong> first placea<br />
very human and uncorporate th<strong>in</strong>g to do. Fur<strong>the</strong>rmore, <strong>the</strong> good<br />
press <strong>the</strong>y will receive as a result <strong>of</strong> this project will probably help<br />
repair some <strong>of</strong> <strong>the</strong> damage done by <strong>the</strong>ir <strong>in</strong>itial move, just as <strong>the</strong>A!can<br />
build<strong>in</strong>g, and that company's cultural sponsorship, helps some people<br />
<strong>for</strong>get that it is considered responsible by ecology and wildlife protection<br />
groups <strong>for</strong> <strong>the</strong> pollution that is kill<strong>in</strong>g beluga whales far<strong>the</strong>r up<br />
<strong>the</strong> St. Lawrence River. But <strong>the</strong>se are not purely architectural issues.<br />
What <strong>the</strong>se <strong>of</strong>fices do represent is a return to humanism- a sign<br />
that big bus<strong>in</strong>ess and <strong>the</strong> mega-corporation have recognized a responsiblity<br />
not only to <strong>the</strong>ir customers, <strong>the</strong> public, but also to <strong>the</strong> urban<br />
environment, culturally and aes<strong>the</strong>tically. By provid<strong>in</strong>g considerate<br />
and <strong>in</strong>telligent solutions to corporate needs, urban restrictions, and<br />
<strong>the</strong> quality <strong>of</strong> urban life as expressed through its architectural<br />
presence, <strong>the</strong>se companies deserve to be applauded. It rema<strong>in</strong>s to be<br />
seen whe<strong>the</strong>r La Maison Ultramar will live up to <strong>the</strong> plans. If it does,<br />
Montreal and McGill College Avenue will be all <strong>the</strong> richer <strong>for</strong> it.<br />
24 SSAC BULLETIN SEAC 3:88
Society <strong>for</strong> <strong>the</strong> Study <strong>of</strong> Architecture <strong>in</strong> Canada/Societe pour !'etude de )'<strong>architecture</strong> au Canada<br />
Annual Conference/Congres annuel<br />
Le Grand Hotel<br />
777, rue University, Montreal<br />
April12- 16 avril1989<br />
Prelim<strong>in</strong>ary Schedule <strong>of</strong> Events/Programme prelim<strong>in</strong>aire<br />
WEDNESDAY 12APRIL/MERCREDI 12AVRIL<br />
A.M.<br />
Preservation Colloquium. Organized <strong>in</strong> association with SAH and Heritage Montreal.<br />
Meridien Hotel. See separate announcement <strong>for</strong> details.<br />
Colloque sur Ia conservation du patrimo<strong>in</strong>e. Organize en collaboration avec Ia SAH et Heritage Montreal.<br />
Hotel Le Meridien. Des renseignements sur Ies modalites d'<strong>in</strong>scription suivront.<br />
P.M.<br />
5:00-7:00<br />
Registration <strong>for</strong> SSAC conference. Le Grand Hotel, room to be announced.<br />
Inscription pour Ie congres S.EA.C. Le Grand Hotel, piece a determ<strong>in</strong>er.<br />
THURSDAY 13APRIL/JEUDI 13AVRIL<br />
A.M.<br />
Registration/Inscription<br />
9:00-10:30<br />
First session. Theatre Architecture <strong>in</strong> Canada. (Chair: Robert Hunter, Canadian Parks Service, Ottawa)<br />
Premiere seance. L'<strong>architecture</strong> des <strong>the</strong>atres au Canada. (President: Robert Hunter, Service canadien des pares, Ottawa)<br />
10:45 - 12:15<br />
Second session. Architecture <strong>of</strong> Montreal and <strong>the</strong> Eastern Townships. (Chair: Robert Lemire, Danville)<br />
Deuxieme seance. L'<strong>architecture</strong> de Montreal et des Cantons de l'Est. (President: Robert Lemire, Danville)<br />
12:15-2:00<br />
Lunch. Le Grand Hotel, room to be announced.<br />
Dejeuner. LeGrand Hotel, piece a determ<strong>in</strong>er.<br />
1:15-2:00<br />
Executive board meet<strong>in</strong>g. Le Grand Hotel, Hospitality Suite, room to be announced.<br />
Reunion du conseil d'adm<strong>in</strong>istration. Le Grand Hotel, Suite Hospitalite, piece a determ<strong>in</strong>er.<br />
P.M.<br />
2:30-5:00<br />
Walk<strong>in</strong>g Tour. The Houses <strong>of</strong> E. & W. S. Maxwell.<br />
Une excursion a pied. Les maisons de E. & W. S. Maxwell.<br />
6:30<br />
Cocktails. Le Grand Hotel, room to be announced.<br />
Cocktails. Le Grand Hotel, piece a determ<strong>in</strong>er.<br />
7:30<br />
Banquet. Le Grand Hotel, room to be announced.<br />
Banquet. LeGrand Hotel, piece a determ<strong>in</strong>er.<br />
3:88<br />
SSAC BULLETIN SEAC 25
FRIDAY 14 APRIL/VEND RED! 14 AVRIL<br />
A.M.<br />
Registration/Inscription<br />
9:00- 10:30<br />
Third session. Architectural Draw<strong>in</strong>gs <strong>in</strong> Canada. (Chair: Howard Shubert, Canadian Centre <strong>for</strong> Architecture, Montreal)<br />
Troisieme seance. Les plans architecturaux au Canada. (President: Howard Shubert, Centre Canadien d'Architecture, Montreal)<br />
C<strong>of</strong>fee break/Pause cafe<br />
10:45- 12:15<br />
Fourth session. History <strong>of</strong> Urban Plann<strong>in</strong>g <strong>in</strong> Montreal. (Chair: Jeanne Wolfe, McGill University, Montreal)<br />
Quatrieme seance. Histoire de l'urbanisme a Montreal. (President: Jeanne Wolfe, Universite de McGill, Montreal)<br />
12:15-1:15<br />
Lunch. Le Grand Hotel, room to be announced.<br />
Dejeuner. LeGrand Hotel, piece a determ<strong>in</strong>er.<br />
P.M.<br />
1:15- 2:30<br />
Annual general meet<strong>in</strong>g/ Assemblee annuelle<br />
2:30-4:30<br />
SAH Conference, Meridien Hotel.<br />
Congres de Ia SAH, Hotel Le Meridien.<br />
6:00<br />
Reception and view<strong>in</strong>g <strong>of</strong> exhibitions at <strong>the</strong> Canadian Centre <strong>for</strong> Architecture, 1920 Baile Street (toge<strong>the</strong>r with SAH).<br />
Reception et visite des expositions au Centre Canadien d'Architecture, 1920 rue Baile (avec le participation de SAH).<br />
SATURDAY 15APRIL/SAMEDI 15AVRIL<br />
8:30-9:30<br />
Executive board meet<strong>in</strong>g (NEW). Le Grand Hotel, restaurant to be announced.<br />
Reunion de nouveau conseil d'adm<strong>in</strong>istration. LeGrand Hotel, dans un restaurant a determ<strong>in</strong>er.<br />
A.M.<br />
9:30- 12:00<br />
Fifth session. Natural Light <strong>in</strong> Recent Museum Design: A Panel Discussion.<br />
(Moderator: Larry Richards, University <strong>of</strong> Waterloo, Waterloo)<br />
C<strong>in</strong>quieme seance. Panel-discussion. Lumiere naturelle et conception de musees recents.<br />
(President de seance : Larry Richards, Universite de Waterloo, Waterloo)<br />
12:00- 12:30<br />
Clos<strong>in</strong>g comments. Conference co-ord<strong>in</strong>ator (Howard Shubert); Conference co-ord<strong>in</strong>ator,<br />
Edmonton, 1990 (Diana Kordan); President, SSAC (Mark Fram).<br />
Notes de Ia f<strong>in</strong>. Coordonateur du congres (Howard Shubert); coordonateur du congres<br />
a Edmonton en 1990 (Diana Kordan); President, S.EA.C. (Mark Fram).<br />
12:30- 1:30<br />
Lunch (on your own)/Dejeuner (dans un restaurant de votre choix)<br />
P.M.<br />
2:00-4:30<br />
Walk<strong>in</strong>g Tour. (To be determ<strong>in</strong>ed)<br />
Excursion a pied. (A determ<strong>in</strong>er)<br />
26<br />
SSAC BULLETIN SEAC 3:88
Mart<strong>in</strong> Wei/ Prize<br />
<strong>of</strong> <strong>the</strong> Society <strong>for</strong> <strong>the</strong> Study <strong>of</strong> Architecture <strong>in</strong> Canada<br />
The Society <strong>for</strong> <strong>the</strong> Study <strong>of</strong> Architecture <strong>in</strong><br />
Canada is a learned <strong>society</strong> devoted to <strong>the</strong><br />
exam<strong>in</strong>ation <strong>of</strong> <strong>the</strong> role <strong>of</strong> <strong>the</strong> built environment <strong>in</strong><br />
Canadian <strong>society</strong>. Its membership <strong>in</strong>cludes<br />
structural and landscape architects, architectural<br />
historians, urban historians and planners,<br />
sociologists, folklorists, and specialists <strong>in</strong> such<br />
fields as heritage conseNation and landscape<br />
history.<br />
Founded <strong>in</strong> 1974 under <strong>the</strong> leadership <strong>of</strong> heritage<br />
architect Mart<strong>in</strong> Wei/, <strong>the</strong> Society is currently <strong>the</strong><br />
sole national organization whose focus <strong>of</strong> <strong>in</strong>terest<br />
is Canada's built environment <strong>in</strong> all <strong>of</strong> its<br />
manifestations.<br />
The Society is <strong>the</strong>re<strong>for</strong>e pleased to <strong>in</strong>vite<br />
submissions <strong>for</strong> <strong>the</strong> Mart<strong>in</strong> Wei/ Prize.<br />
Submissions are to take <strong>the</strong> <strong>for</strong>m <strong>of</strong> an orig<strong>in</strong>al<br />
essay (<strong>in</strong> ei<strong>the</strong>r <strong>of</strong>ficial language) suitable <strong>for</strong><br />
publication, from full- or part-time students<br />
enrolled at <strong>the</strong> graduate or undergraduate level at<br />
Canadian universities.<br />
The Wei/ Prize consists <strong>of</strong> a certificate and an<br />
expenses-paid trip to <strong>the</strong> Annual Meet<strong>in</strong>g and<br />
Conference <strong>of</strong> <strong>the</strong> Society so that <strong>the</strong> w<strong>in</strong>n<strong>in</strong>g<br />
essay may be delivered as part <strong>of</strong> <strong>the</strong> programme.<br />
The Society undertakes to provide return airfare,<br />
ground transportation, up to four nights<br />
accommodation and a meal allowance. The Prize<br />
also <strong>in</strong>cludes <strong>the</strong> publication <strong>of</strong> <strong>the</strong> w<strong>in</strong>n<strong>in</strong>g essay<br />
by <strong>the</strong> Society.<br />
Rules <strong>of</strong> <strong>the</strong> Competition<br />
1 Submissions <strong>for</strong> <strong>the</strong> Wei/ Prize shall take <strong>the</strong><br />
<strong>for</strong>m <strong>of</strong> an essay, <strong>in</strong> ei<strong>the</strong>r French or English,<br />
suitable <strong>for</strong> publication. The paper must be <strong>of</strong><br />
3000 to 5000 words on a subject which explores<br />
<strong>the</strong> role <strong>of</strong> <strong>the</strong> built environment <strong>in</strong> Canadian<br />
<strong>society</strong>. This may deal with a s<strong>in</strong>gle structure,<br />
ei<strong>the</strong>r modern or historical, proposed or extant; a<br />
complex <strong>of</strong> related structures, ei<strong>the</strong>r modern or<br />
historical, proposed or extant; a type <strong>of</strong> structure<br />
(exam<strong>in</strong>ed <strong>for</strong> its historical, functional, structural<br />
or aes<strong>the</strong>tic significance); cultural landscapes (<strong>for</strong><br />
example, parks, cemeteries, farmsteads, etc.); a<br />
biographical sketch <strong>of</strong> a person who has<br />
<strong>in</strong>fluenced <strong>the</strong> built environment; or a<br />
philosophical, sociological, or historical problem<br />
related to <strong>the</strong> built environment. Architectural<br />
projects may not be submitted unless <strong>the</strong>y<br />
con<strong>for</strong>m to <strong>the</strong> above requirements.<br />
2 Submissions must be typewritten,<br />
double-spaced. Visual materials, not exceed<strong>in</strong>g a·<br />
by 10", may be <strong>in</strong>cluded, ei<strong>the</strong>r <strong>in</strong>tegrated <strong>in</strong>to <strong>the</strong><br />
text <strong>of</strong> <strong>the</strong> paper or <strong>in</strong>cluded at <strong>the</strong> end.<br />
Submissions must be supported, where<br />
appropriate, by documentation <strong>in</strong> <strong>the</strong> <strong>for</strong>m <strong>of</strong><br />
notes, bibliography or suggestions <strong>for</strong> fur<strong>the</strong>r<br />
read<strong>in</strong>g.<br />
3 Papers must be received by <strong>the</strong> Society, at <strong>the</strong><br />
address below, postmarked on or be<strong>for</strong>e<br />
31 JANUARY 1989.<br />
4 The Society will submit each essay to its<br />
Editorial Board <strong>for</strong> assessment. The decision <strong>of</strong><br />
<strong>the</strong> Editorial Board shall be f<strong>in</strong>al. The Society<br />
reseNes <strong>the</strong> right not to award <strong>the</strong> prize. Every<br />
ef<strong>for</strong>t will be made to <strong>in</strong><strong>for</strong>m <strong>the</strong> w<strong>in</strong>ner by 15<br />
March 1989.<br />
5 The paper judged <strong>the</strong> w<strong>in</strong>ner <strong>of</strong> <strong>the</strong> prize will be<br />
<strong>in</strong>cluded <strong>in</strong> <strong>the</strong> programme <strong>of</strong> <strong>the</strong> Annual Meet<strong>in</strong>g<br />
<strong>of</strong> <strong>the</strong> Society, which will take place <strong>in</strong> Montreal<br />
between 12 and 16 Apri/1989.<br />
6 If <strong>the</strong> author <strong>of</strong> <strong>the</strong> w<strong>in</strong>n<strong>in</strong>g paper is not able to<br />
be present at <strong>the</strong> Annual Meet<strong>in</strong>g, <strong>the</strong> address<br />
will be delivered <strong>in</strong> hisjher absence. In lieu <strong>of</strong> <strong>the</strong><br />
trip to <strong>the</strong> Annual Meet<strong>in</strong>g, <strong>the</strong> w<strong>in</strong>ner will receive<br />
a cash award <strong>of</strong> $100.<br />
7 AI/ submissions will be considered <strong>for</strong> possible<br />
publication. The Editorial Board will <strong>in</strong><strong>for</strong>m all<br />
authors <strong>of</strong> its decision by 15 April 1989.<br />
8 Submission must be sent to:<br />
Chairman<br />
Editorial Board<br />
Society <strong>for</strong> <strong>the</strong> Study <strong>of</strong> Architecture <strong>in</strong> Canada<br />
P.O. Box 2302, Station D<br />
Ottawa, Ontario<br />
K1P5W5<br />
3:88<br />
SSAC BULLETIN SEAC 27