The project is characterized by a veil/architectural screen composed of aluminum strips, an "event stairway," a wood interior, illuminated lounge areas and suspended walkways above Bishop Street, large exhibition halls, workshops, and art therapy spaces. The program of this 4,000 m² addition is spread over six levels and includes functional links with the Jean-Noël Desmarais Pavilion, allowing for easy circulation between the two buildings.
In addition to the museum functions concentrated on the four upper levels, the program includes common areas--the "event stairway," the entrance hall, and a reception area for visitors--ateliers for courses and temporary exhibitions, a cafeteria that can accommodate groups of up to 260 children, cloakrooms, workshops for toddlers, and support services and spaces.
The event stairway offers a unique museum experience focused on visitors rather than objects. Aside from being an effective circulation element, this space is designed for strolling. It provides an interior urban promenade that is fluid and luminous, with breathtaking views of the mountain and the river, two important visual landmarks that help to orient visitors.
The glass volumes of the Pavilion for Peace are dressed in an aluminum lacework designed to modulate the light inside the museum and showcase the sense of rotation of the two building blocks--one aligned with the street and the other turned towards the mountain. The lacework is composed of rows of strips arranged at different spacings, which express the tension of the pivot point on the façade by a higher density. For each row, the number of strips was determined by following the Fibonacci sequence, from two to five rods, to create the different modulations.
The veil/screen is manufactured with custom-made extruded aluminum strips, which optimized production cost while guaranteeing high quality precision. The strips were mounted on a stainless steel substructure, which is supported by the curtain wall held by vertical mullions. The research work to find innovation solutions that led to the construction of this envelope is the result of a design process developed in close collaboration with the industry. Many tests were carried out to develop a unique assembly system, where the lightness of aluminum made the fine and elegant composition of the curtain wall components possible.
During the day, the pavilion envelope is animated by its environment and the changing light, while in the evening it turns into a lantern in the cityscape, revealing the warm wood spaces through the metal veil.
The concept affirms major concerns regarding sustainable development, local consumption, and respect for the surrounding heritage. The following main elements were considered: white roofs limiting heat islands in urban areas, abundance of natural light, LED lighting, "low-E" triple glass, white oak processed in Quebec, superior insulation, and energy efficiency including energy recovery via mechanical systems. The team made sure to achieve museum standards of international quality while by giving a special effort to the simplicity of construction details and by favouring the use of technologies and materials from Quebec.
(Competitor's text)
The members of the jury raised the following main points regarding MA/JLP's performance
4.1 The inscription of Pavilion 5 in the history of the MBAM makes sense with this proposed concept: The museum in the city.
4.2 The research and richness of the thinking behind this project are well reflected in its remarkable conceptual approach. This project shows great inventiveness. The gestures are justified and articulated. Moreover, the thinking is not only conceptual but also practical.
4.3 The project focuses on the visitor's experience by offering them a very interesting and diversified path between the exhibition rooms, the event staircase, the outdoor terraces and the visual breakthroughs on several points of the city.
4.4 The urban insertion is successful. The building's massing is dynamic and original. The jury describes the building as spectacular and having a distinctive signature.
4.5 The corner location of the building in relation to the street, particularly on the first floor, is questioned by the jury. Further thought should be given to respecting the urban fabric.
4.6 The jury also suggests that a redevelopment of Bishop Street to include a landing be coordinated with the City of Montreal authorities.
4.7 The openness to Bishop Street is highly valued. The city-museum relationship stands out in this project. The presence of the Museum and the activity in the Museum will be clearly felt from the street. The transparency of the building allows the interior activity to be clearly seen beyond the stone veil. The response of this project at this level corresponds to what was sought and expressed in the program.
4.8 The presence of the event staircase on the façade accentuates the museum-city link and energizes this façade on Bishop Street.
4.9 At night, the lighted black box will provide an interesting presence on the street. The concept is appreciated.
4.10 The warmth of the space through the use of wood and the dynamism of the spaces also contribute to a convivial visit.
4.11 The fineness of the stone lace that envelops the building is emphasized and appreciated. However, the particular use of Montreal grey stone is questioned, because of its relative fragility. In addition, the jury suggests simplifying the details of the building envelope.
4.12 The proposed solutions to the concerns of the environmental constraints are reassuring in terms of respecting the budget and the schedule. The building setbacks at strategic locations avoid significant investment in neighbouring buildings and avoid compromising the schedule through discussions and agreements.
4.13 The exterior treatment of the building on the south side is appreciated. Its play of volumes and visual openings creates a sense of use and occupation of this space. This party wall does not imply that there is an expectation of a future expansion.
4.14 The developer sees the outdoor terraces created on different levels as interesting opportunities to display sculptures.
4.15 The sunken gardens require practical, climate-sensitive solutions.
4.16 The team has not resolved the existential question of the trunk and its materiality.
4.17 The large M, representing the MBAM, on the rear wall (alley) is not desired by the developer.
4.18 The proposed location for the integration (1%) of the artwork is questioned by the jury because of the limited visibility.
4.19 The assembly of the stone lace is known and proven in a previous project carried out by the consortium. The technical risks appear to be under control by the finalist.
4.20 The jury remains concerned about the ease of maintenance of the glass surfaces behind the stone lace.
4.21 In order to bear witness to the presence of the demolished Victorian houses, the jury suggests that the stones from these buildings be inserted into the walls of the new building.
4.22 The quality of the overall presentation, particularly the work, research, graphic presentation and presentation of Ms. Asselin during the interview, is highlighted by the jury. Despite some perspectives showing spaces that are larger than they will be, the jury appreciates the realism of the graphic expression presented.
4.23 The complementary nature of the consortium, as emphasized by the jury during the selection of the finalists in the first stage, is reflected in the development and presentation of the project in this second stage of the competition.
(From jury report)
(Unofficial automated translation)
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