{"id":51004,"date":"2022-12-20T13:43:58","date_gmt":"2022-12-20T18:43:58","guid":{"rendered":"https:\/\/www.thenatureofcities.com\/?p=51004"},"modified":"2022-12-20T13:44:05","modified_gmt":"2022-12-20T18:44:05","slug":"lapproche-conceptuelle-du-plan-directeur-de-conservation-damenagement-et-de-developpement-du-parc-jean-drapeau-the-conceptual-approach-of-the-parc-jean-drapeaus-conservation-planning-and-mast","status":"publish","type":"post","link":"https:\/\/www.thenatureofcities.com\/TNOC\/2022\/12\/20\/lapproche-conceptuelle-du-plan-directeur-de-conservation-damenagement-et-de-developpement-du-parc-jean-drapeau-the-conceptual-approach-of-the-parc-jean-drapeaus-conservation-planning-and-mast\/","title":{"rendered":"L’approche conceptuelle du Plan directeur de conservation, d’am\u00e9nagement et de d\u00e9veloppement du parc Jean-Drapeau
The Conceptual Approach of the Parc Jean-Drapeau’s Conservation, Planning, and Master Plan"},"content":{"rendered":"

Read in English.<\/em><\/a><\/p>\n

En tant que paysage patrimonial avec de nombreuses ann\u00e9es d’histoire, il semblait fondamental d’int\u00e9grer la fragmentation du Parc Jean-Drapeau plut\u00f4t que d’essayer de l’aplanir. L’id\u00e9e \u00e9tait de reconna\u00eetre que le parc est un produit \u00e9volutif de plusieurs si\u00e8cles, r\u00e9cup\u00e9rant le sens perdu et affirmant l’identit\u00e9.<\/blockquote><\/figure>\n

Retrouver le sens perdu et affirmer l\u2019identit\u00e9 du parc<\/strong><\/p>\n

Les parcs sont aujourd\u2019hui une collection \u00e9clectique de strates de paysages am\u00e9nag\u00e9s et construits issus de multiples \u00e9poques[1]<\/a>. Autant pour ceux qui r\u00e9alisent des parcs que ceux qui les con\u00e7oivent, il est \u00e0 propos de se questionner sur la conciliation entre d\u2019une part r\u00e9v\u00e9ler et c\u00e9l\u00e9brer l\u2019historicit\u00e9 des parcs et leurs composantes et d\u2019autre part appliquer des approches actualis\u00e9es de transformation pour en faire des parcs qui r\u00e9pondent aux besoins du XXIe<\/sup> si\u00e8cle. Comment consid\u00e9rer les patrimoines qu\u2019ils contiennent et repr\u00e9sentent tout en laissant place \u00e0 la production de nouvelles formes contemporaines?<\/p>\n

\"An
La c\u00e9l\u00e9bration du grand parc insulaire gr\u00e2ce \u00e0 la consolidation de ses rives et du c\u0153ur des \u00eeles Sainte-H\u00e9l\u00e8ne et Notre-Dame. Photo: NIPPaysage et parc Jean-Drapeau (2020)<\/figcaption><\/figure>\n

Est-ce qu\u2019une cohabitation des fonctions, des styles et des traces est possible et souhaitable? Comment r\u00e9pondre aux \u00e9l\u00e9ments de rupture et de d\u00e9su\u00e9tude tout en assurant une continuit\u00e9 identitaire du lieu? Quelles formes devraient prendre les parcs du futur?\u00a0Ces questions ont inform\u00e9 l’approche conceptuelle du Plan directeur de conservation, d\u2019am\u00e9nagement et de d\u00e9veloppement du parc Jean-Drapeau 2020-2030<\/em> r\u00e9alis\u00e9 et dirig\u00e9 par NIPpaysage, avec R\u00e9al Paul, architectes, ATOMIC3 et Biodiversit\u00e9 conseil.<\/p>\n

\"A
La mise en en valeur des espaces et des \u00e9cosyst\u00e8mes pour assurer un continuum d\u2019exp\u00e9riences paysag\u00e8res. Photo: NIPPaysage et parc Jean-Drapeau (2020)<\/figcaption><\/figure>\n

Dans les derni\u00e8res d\u00e9cennies, l\u2019usage public du parc Jean-Drapeau a v\u00e9cu une crise. Un \u00e9loignement et une distanciation se sont op\u00e9r\u00e9s avec les citoyens au point de faire du Parc un \u00ab\u00a0landscape of estrangement<\/em> \u00bb<\/em> pour reprendre le concept de James Corner. Celui-ci critiquait la technologie et le capitalisme qui contribuaient \u00e0 nous \u00e9loigner de la valeur po\u00e9tique de l\u2019architecture de paysage et pr\u00f4nait pour une conciliation de l\u2019histoire et du sens du lieu avec les circonstances contemporaines. \u00abMany fail to even appreciate the role that landscape architecture plays in the constitution and embodiement of culture, forgetful of the designed landscape\u2019s symbolic and revelatory powers, especially with regard to collective memory, cultural orientation, and continuity<\/em>[2]\u00bb<\/a>. Il convenait donc, \u00e0 travers le processus de conception paysag\u00e8re, d\u2019\u0153uvrer \u00e0 positionner clairement l\u2019identit\u00e9 du Parc pour lui redonner une coh\u00e9rence physique, refl\u00e9ter ses valeurs culturelles et le r\u00e9inscrire dans les pratiques citoyennes. Apr\u00e8s avoir plac\u00e9 la conservation comme l\u2019une des principales orientations strat\u00e9giques, sept principes d\u2019am\u00e9nagement ont \u00e9t\u00e9 \u00e9labor\u00e9s\u00a0: positionner le Parc \u00e0 l\u2019\u00e9chelle m\u00e9tropolitaine et r\u00e9gionale, c\u00e9l\u00e9brer le caract\u00e8re insulaire du Parc, mettre en valeur le riche h\u00e9ritage patrimonial, mettre en valeur les paysages aquatiques et leurs \u00e9cosyst\u00e8mes, favoriser la diversit\u00e9 et la connectivit\u00e9 des \u00e9cosyst\u00e8mes, assurer le continuum d\u2019exp\u00e9riences paysag\u00e8res du Parc et miser sur les exp\u00e9riences de mobilit\u00e9 pour d\u00e9couvrir le Parc. En d\u00e9coula le concept d\u2019am\u00e9nagement qui r\u00e9pond directement \u00e0 cette perte de sens et de contact, soit\u00a0: \u00abLa c\u00e9l\u00e9bration du grand parc insulaire gr\u00e2ce \u00e0 la consolidation de ses rives et du c\u0153ur des \u00eeles Sainte-H\u00e9l\u00e8ne et Notre-Dame\u00bb.<\/p>\n

\"Three
Les trois grands gestes d\u2019am\u00e9nagement : la liaison des c\u0153urs des deux \u00eeles, la promenade riveraine, les attaches entre les rives et les c\u0153urs. Photo: NIPPaysage et parc Jean-Drapeau (2020)<\/figcaption><\/figure>\n

Le parc et le paysage comme destination paysag\u00e8re et sociale<\/strong><\/p>\n

\u00c0 la mani\u00e8re des parcs de Frederick Law Olmsted, la volont\u00e9 partag\u00e9e \u00e9tait de faire du paysage insulaire r\u00e9invent\u00e9 du parc Jean-Drapeau une destination en soi[3]<\/a>. Citons en exemple Central Park, Millenium Park ou Governor\u2019s Island o\u00f9 la qualit\u00e9 de l\u2019am\u00e9nagement a \u00e9t\u00e9, d\u00e8s l\u2019\u00e9tape de planification, pr\u00e9vue pour \u00eatre une attraction locale et touristique de premier plan. Le plan d\u2019am\u00e9nagement du parc Jean-Drapeau vise aussi \u00e0 cr\u00e9er du vide, \u00e0 laisser s\u2019exprimer le design du Parc dans toute sa cr\u00e9ativit\u00e9. Comme le soulignait Bernard Huet\u00a0: \u00abWe are afraid of emptiness. <\/em>Afraid of void, of an empty, beautiful space<\/em>[4]<\/a>\u00bb. L\u2019importance de cesser de surcharger et de remplir l\u2019espace d\u2019installations temporaires de tout genre (panneaux de signalisation, barri\u00e8res, cl\u00f4tures, mobilier, arrangements floraux, plateformes, etc.) de m\u00eame que de viser l\u2019optimisation des paysages a largement fait partie des r\u00e9flexions pour valoriser le site patrimonial, c\u00e9l\u00e9brer les legs en architecture de paysage et surtout contribuer \u00e0 l\u2019\u00e9mergence de milieux habit\u00e9s. Comme l\u2019\u00e9crivait Kate Orff dans The New Landscape Declaration\u00a0<\/em>: \u00abWhere the spaces can be reimagined as productive landscapes that are not only pastoral settings but also active generators of social life<\/em>[5]<\/a>\u00bb.<\/p>\n

Clare Cooper Marcus \u00e9crivait que: \u00abTwo frequently cited reasons for park use are: a desire to be in a natural setting and a need for human contac<\/em>t[6]<\/sup><\/a>\u00bb, un constat toujours d\u2019actualit\u00e9 aujourd\u2019hui qui a inform\u00e9 tout le processus cr\u00e9atif. Celui-ci s\u2019est \u00e9galement appuy\u00e9 sur les \u00abguidelines\u00bb<\/em>, \u00abdesign recommandations\u00bb<\/em>\u00a0et \u00abusers\u2019 needs <\/em>” \u00e9labor\u00e9s par plusieurs auteurs au fil des ans, dont les crit\u00e8res de qualit\u00e9 pour les espaces fr\u00e9quent\u00e9s par les pi\u00e9tons de Jan Gehl, (2012), qui ont fait ressortir les \u00e9l\u00e9ments qui font le succ\u00e8s des espaces publics (successful<\/em> features<\/em>) (notamment Whyte, 1980[7]<\/a>, Cooper Marcus et Francis, 1990[8]<\/a>, Tate et Eaton, 2015[9]<\/a>). La r\u00e9flexion a \u00e9t\u00e9 particuli\u00e8rement soucieuse de r\u00e9pondre aux besoins et aux habitudes de tous les usagers et des communaut\u00e9s culturelles par un engagement envers la diversit\u00e9. Divers auteurs ont en effet \u00e9tudi\u00e9 les diff\u00e9rences culturelles dans les attitudes, comportements et occupations des parcs; certains groupes culturels pr\u00e9f\u00e9rant davantage des rassemblements autour de repas ou une r\u00e9cr\u00e9ation passive et d\u2019autres pr\u00e9f\u00e9rant le mouvement et la r\u00e9cr\u00e9ation active \u00e0 titre d\u2019exemple[10]<\/sup><\/a>.<\/p>\n

Ces connaissances issues de recherches scientifiques et d\u2019observations terrain ont \u00e9t\u00e9 s\u00e9rieusement consid\u00e9r\u00e9es afin de s\u2019assurer d\u2019une justice sociale dans l\u2019accessibilit\u00e9 au parc (\u00e9galit\u00e9, \u00e9quit\u00e9, inclusion). Dans The Politics of Parks Design<\/em>, Cranz \u00e9crivait que le potentiel des parcs \u00e0 fa\u00e7onner et \u00e0 refl\u00e9ter les valeurs sociales n’\u00e9tait pas encore pleinement appr\u00e9ci\u00e9 ou compris et qu\u2019un contr\u00f4le social a de tout temps limit\u00e9 l\u2019acc\u00e8s au parc [11]<\/a><\/sup>, un constat appuy\u00e9 par Beardsley \u00e0 travers la notion \u00abd\u2019\u00e9rosion[12]<\/sup><\/a>\u00bb. Cette lecture demeure plus que jamais valable et comprise dans la planification et la conception. Les am\u00e9nagements proposent ainsi \u00e0 la fois des opportunit\u00e9s de rencontres, de contact social et de rapprochement avec la nature, une compl\u00e9mentarit\u00e9 entre les espaces verts et urbains, une vari\u00e9t\u00e9 d\u2019espaces et de types de paysages ouverts et ferm\u00e9s qui permet des activit\u00e9s dynamiques et statiques, r\u00e9cr\u00e9atives et passives. \u00c0 l\u2019instar des \u00e9crits de Jean-Marc Besse[13]<\/a>, le plan d\u2019am\u00e9nagement consid\u00e8re le paysage avant tout comme une exp\u00e9rience, une mani\u00e8re d\u2019\u00eatre, d\u2019y \u00eatre impliqu\u00e9 pratiquement, c\u2019est-\u00e0-dire de l\u2019habiter. Les propositions visent moins \u00e0 contempler qu\u2019\u00e0 vivre et sentir le paysage. La promenade riveraine de 15 km permettant de d\u00e9couvrir les paysages des rives des deux \u00eeles ainsi que les panoramas sur le fleuve Saint-Laurent et m\u00eame au-del\u00e0 est le premier geste d\u2019am\u00e9nagement cl\u00e9 pour renforcer l\u2019identit\u00e9 du Parc et en faire une destination. Cela permet de r\u00e9habiliter la passerelle du Cosmos et le pont de l\u2019Expo-Express et d\u2019offrir un contact direct avec l\u2019eau tout en bonifiant l\u2019int\u00e9r\u00eat \u00e9cologique du pourtour des \u00eeles.<\/p>\n

\n
\"A
La consolidation des for\u00eats \u00e0 trois strates permet une vari\u00e9t\u00e9 d\u2019espaces et de types de paysages ouverts et ferm\u00e9s pour des activit\u00e9s dynamiques et statiques, r\u00e9cr\u00e9atives et passives. Photo: NIPPaysage et parc Jean-Drapeau (2020)<\/figcaption><\/figure>\n<\/div>\n
\"A
La cr\u00e9ation d\u2019un pr\u00e9-fleuri ponctue\u0301 d\u2019\u0153uvres d\u2019art redonne la place \u00e0 la nature au c\u0153ur du mont Boulle\u0301. Photo: NIPPaysage et parc Jean-Drapeau (2020)<\/figcaption><\/figure>\n
\"An
La reconfiguration de la berge, par l\u2019adoucissement de son profil, permet la cr\u00e9ation d\u2019une promenade riveraine et un nouveau rapport au fleuve Saint-Laurent. Photo: NIPPaysage et parc Jean-Drapeau. (2019). Projet d\u2019ide\u0301ation de re\u0301ame\u0301nagement du stationnement P8 en promenade verte riveraine. Soci\u00e9t\u00e9 du parc Jean-Drapeau.<\/figcaption><\/figure>\n
\"A
La promenade riveraine et un emmarchement \u00e0 la Place des Nations permettent de d\u00e9couvrir les paysages des rives ainsi que les panoramas sur le fleuve. Photo: NIPPaysage et parc Jean-Drapeau (2020)<\/figcaption><\/figure>\n

Une matrice verte comme structure de connectivit\u00e9<\/strong><\/p>\n

En s\u2019inspirant de la triade Bridging, Mediating, Reconciling\u00a0<\/em>d\u2019Elizabeth Meyer[14]<\/a>, la strat\u00e9gie d\u2019am\u00e9nagement voulait reconnecter les espaces, faire une m\u00e9diation des vocations et se r\u00e9concilier avec le lieu. Influenc\u00e9e par l\u2019approche \u00abProcess-based\u00bb<\/em>\u00a0d\u2019Anita Berrizbeita[15]<\/a>, la conception s\u2019est appuy\u00e9e sur les formes existantes, le sens du lieu et l\u2019accumulation des histoires pour r\u00e9v\u00e9ler la trajectoire du Parc, augmenter la lisibilit\u00e9 des forces et faire \u00e9merger une matrice qui r\u00e9pond \u00e0 la multiplicit\u00e9, la flexibilit\u00e9 et la temporalit\u00e9 n\u00e9cessaires \u00e0 la vie d\u2019un grand parc urbain. Aux qualit\u00e9s visuelles et spatiales recherch\u00e9es s\u2019ajoutent des notions de pr\u00e9servation, de performance, de connectivit\u00e9 et de fonctions \u00e9cologiques. Gilles Cl\u00e9ment posait la question\u00a0: \u00abPeut-on \u00e9lever le non-am\u00e9nagement, et parfois le d\u00e9sam\u00e9nagement, \u00e0 hauteur de projet?[16]<\/a>\u00bb Sans aller jusqu\u2019\u00e0 proposer une p\u00e9dagogie de l\u2019herbe, le plan d\u2019am\u00e9nagement laisse une grande place \u00e0 la protection des paysages am\u00e9nag\u00e9s et naturels et au design \u00e9cologique adaptatif, en plantant massivement et en restreignant l\u2019acc\u00e8s \u00e0 plusieurs secteurs du parc. La liaison des c\u0153urs des deux \u00eeles est le deuxi\u00e8me geste d\u2019am\u00e9nagement cl\u00e9 \u00e0 travers la cr\u00e9ation d\u2019un corridor \u00e9cologique entre la micocoulaie du mont Boull\u00e9 et les zones ripariennes de l\u2019\u00eele Notre-Dame via un pont vert au-dessus du chenal Le Moyne. Cela permet d\u2019assurer une connectivit\u00e9 des \u00e9cosyst\u00e8mes au sein du Parc et d\u2019enrichir ces noyaux de biodiversit\u00e9, o\u00f9 la faune et la flore sont particuli\u00e8rement abondantes[17]<\/a>.<\/p>\n

\"Three
La matrice \u00e9cologique : le corridor \u00e9cologique entre les c\u0153urs des deux \u00eeles, la bonification de l\u2019int\u00e9r\u00eat \u00e9cologique du pourtour des \u00eeles et l\u2019am\u00e9nagement de liens entres les rives et l\u2019int\u00e9rieur des \u00eeles. Photo: NIPPaysage et parc Jean-Drapeau (2020)<\/figcaption><\/figure>\n
\"A
L\u2019axe v\u00e9hiculaire de la passerelle du Cosmos transform\u00e9 en pont vert et en promenade urbaine. Photo: NIPPaysage et parc Jean-Drapeau (2020)<\/figcaption><\/figure>\n
\"A
Creation of an ecological corridor between the Mont Boull\u00e9 wetland and the riparian areas of \u00cele Notre-Dame by widening the Cosmos footbridge and providing access for wildlife. Photo: NIPPaysage and Parc Jean-Drapeau (2020).<\/figcaption><\/figure>\n

Un paysage h\u00e9rit\u00e9 stratifi\u00e9<\/strong><\/p>\n

Bernard Huet disait qu\u2019un parc avait une continuit\u00e9, une longue histoire[18]<\/a>, alors que Peter Latz affirmait qu\u2019un parc n\u2019\u00e9tait jamais compl\u00e9t\u00e9, mais devait plut\u00f4t \u00eatre consid\u00e9r\u00e9 comme un processus continuel[19]<\/a>. Cette vision d\u2019agr\u00e9gation qui a \u00e9merg\u00e9 dans les ann\u00e9es 1990 se mat\u00e9rialise notamment dans les approches et les projets d\u2019Adrian Geuze et de Norfried Pohl qui misaient sur les qualit\u00e9s intrins\u00e8ques du lieu comme inspiration conceptuelle. \u00abThis is one of the reasons why it is necessary to add different layers over a period of time in order to evolve into a \u2019public park of stature\u2019; \u2018because the already existing and intented qualities must be understood and not forgotten\u2019<\/em>\u00a0<\/em>[20]<\/a>\u00bb. En tant que paysage patrimonial ayant eu plusieurs phases de planification et couches d\u2019occupation, il est apparu fondamental de tirer profit de la fragmentation du parc Jean-Drapeau plut\u00f4t que d\u2019y voir qu\u2019amalgame de choses disparates qu\u2019il convient de lisser. L\u2019id\u00e9e n\u2019\u00e9tait pas de cr\u00e9er un nouveau grand geste monumental, mais de faire \u00e9tat que le parc est un produit \u00e9volutif depuis plusieurs si\u00e8cles. La prise en compte des traces, la r\u00e9v\u00e9lation des couches et la superposition de trames ont \u00e9t\u00e9 les bases de la r\u00e9flexion. Les objectifs \u00e9taient d\u2019inviter le public \u00e0 se r\u00e9approprier le parc, de le r\u00e9inscrire dans la m\u00e9moire collective et d\u2019assurer une continuit\u00e9 tout en ajoutant une nouvelle structure et organisation spatiale. Le plan d\u2019am\u00e9nagement propose ainsi une matrice pour rendre manifeste l\u2019existant et conjuguer diff\u00e9rentes\u00a0\u00abassociations de temps\u00bb[21]<\/a>.<\/p>\n

Dans la consid\u00e9ration de la valeur patrimoniale du Parc et dans la logique de la \u00abconservation inventive\u00bb de Pierre Donadieu[22]<\/sup><\/a>, l\u2019am\u00e9nagement de l\u2019espace a privil\u00e9gi\u00e9 \u00e0 la fois la conservation d\u2019\u00e9l\u00e9ments concrets du paysage et la cr\u00e9ation de formes innovantes correspondant \u00e0 de nouvelles ou \u00e0 d\u2019anciennes fonctions du territoire. Le concept d\u2019am\u00e9nagement s\u2019est attard\u00e9 \u00e0 enrichir la tridimensionnalit\u00e9 du paysage, ce que Jacques Simon nommait des \u00abrapports d\u2019alliances et d\u2019autonomies de trois \u00e9tages distincts de l\u2019organisation de l\u2019espace[23]<\/a>\u00bb. C\u2019est dans ce contexte que le troisi\u00e8me geste d\u2019am\u00e9nagement cl\u00e9 a \u00e9t\u00e9 imagin\u00e9, celui des attaches entre les rives et les c\u0153urs. Ce geste est intimement li\u00e9 \u00e0 l\u2019exp\u00e9rience de la promenade riveraine ainsi qu\u2019\u00e0 celle des c\u0153urs historiques et \u00e9cologiques du Parc. Les attaches comprennent une d\u00e9clinaison d\u2019objets paysagers (passerelles, quais, belv\u00e9d\u00e8res) qui permettent de d\u00e9cloisonner et de relier les paysages enclav\u00e9s tout en offrant une exp\u00e9rience unique \u00ab\u00e0 plusieurs niveaux\u00bb qui r\u00e9v\u00e8le et expose l\u2019identit\u00e9 du Parc. Cette s\u00e9rie de liens ponctuels et continus r\u00e9partis sur les deux \u00eeles offre un nouveau regard sur des tr\u00e9sors oubli\u00e9s et sur les paysages du fleuve tout en cr\u00e9ant de nouveaux dialogues entre les ensembles autrefois isol\u00e9s. Les passerelles sont inspir\u00e9es des structures a\u00e9riennes du minirail de l\u2019Expo 67, \u00e0 l\u2019\u00e9poque constitu\u00e9es de pilotis en forme de V invers\u00e9 reli\u00e9s par une longue poutre longitudinale. Leur mat\u00e9rialit\u00e9 dialoguera avec la signature contemporaine du paddock et des futurs b\u00e2timents de parc, contribuant ainsi \u00e0 l\u2019\u00e9mergence d\u2019une identit\u00e9 architecturale ancr\u00e9e dans l\u2019histoire et l\u2019imaginaire du lieu.<\/p>\n

\"A<\/a>
Les attaches entre les rives et les c\u0153urs permettent de d\u00e9cloisonner et de relier les paysages enclav\u00e9s tout en offrant une exp\u00e9rience unique \u00ab \u00e0 plusieurs niveaux \u00bb qui r\u00e9v\u00e8le et expose l\u2019identit\u00e9 du Parc. Photo: NIPPaysage et parc Jean-Drapeau (2020)<\/figcaption><\/figure>\n
\"A<\/a>
Les passerelles sont inspir\u00e9es des structures a\u00e9riennes du minirail de l\u2019Expo 67, \u00e0 l\u2019\u00e9poque constitu\u00e9es de pilotis en forme de V invers\u00e9 reli\u00e9s par une longue poutre longitudinale. Photo: NIPPaysage et parc Jean-Drapeau (2020)<\/figcaption><\/figure>\n

Le m\u00e9nagement d\u2019un \u00abparc public d\u2019envergure<\/strong>\u00bb<\/p>\n

Certes, de grands projets transformeront l\u2019image, la mobilit\u00e9 et l\u2019exp\u00e9rience du parc Jean-Drapeau, mais ils le seront principalement sur des terrains sous-exploit\u00e9s et des infrastructures existantes n\u2019incarnant pas les valeurs du Parc. Nous ne sommes plus \u00e0 l\u2019heure de l\u2019invention d\u2019un nouveau paysage, mais \u00e0 celle de prendre soin de notre territoire, de le lire, de le repenser et de le valoriser. Comme l\u2019exprimait si bien Thierry Paquot\u00a0:\u00a0\u00abIl faut inventer un m\u00e9nagement des gens, des lieux et des choses[24]<\/a>\u00bb. Le parc Jean-Drapeau n\u2019est pas et ne sera pas une esth\u00e9tique unifi\u00e9e et finale, mais un amalgame coh\u00e9rent de formes h\u00e9rit\u00e9es qui s\u2019adapteront \u00e0 de nouvelles pr\u00e9occupations environnementales et pratiques sociales. C\u2019est l\u00e0 que r\u00e9sidera l\u2019innovation et que se concr\u00e9tisera l\u2019identit\u00e9 retrouv\u00e9e et rehauss\u00e9e du parc Jean-Drapeau. C\u2019est en privil\u00e9giant les superpositions, les connexions et les m\u00e9diations qu\u2019aura lieu la r\u00e9\u00e9mergence d\u2019un grand parc urbain aspirant \u00e0 devenir un \u00abparc public d\u2019envergure\u00bb.<\/p>\n

Jonathan Cha<\/strong>
\nMontr\u00e9al<\/p>\n

On The Nature of Cities<\/a><\/p>\n

R\u00e9f\u00e9rences<\/strong><\/p>\n

[1]<\/a> Cet article est une version plus d\u00e9taill\u00e9e de l\u2019article\u00a0: Jonathan Cha (2022), \u00ab\u00a0Superpositions, connexions et m\u00e9ditations, la r\u00e9\u00e9mergence d\u2019un grand parc urbain\u00a0\u00bb, p. 35-37, Paysages<\/em>, no-17.<\/p>\n

[2]<\/a> James Corner (1991), \u00ab\u00a0Theory in Crisis\u00a0\u00bb in Simon Swaffield, Theory in Landscape Architecture<\/em>, Philadelphie, University of Pennsylania Press, p. 20-21.<\/p>\n

[3]<\/a> Alexander Garvin (2011), \u00ab\u00a0Park development\u00a0\u00bb, in Public Parks. The key to livable communities<\/em>, New York et Londres, W. W. Norton & Company, p. 58.<\/p>\n

[4]<\/a> Bernard Huet (1995) [1993] \u00ab\u00a0Park design and continuity\u00a0\u00bb, in Martin Knuijt, Hans Ophuis, Peter van Saane et David Louwerse, Modern<\/em> Park<\/em> Design<\/em>. Recent<\/em> Trends<\/em>, Bussum, Thoth Publishers, p. 21.<\/p>\n

[5]<\/a> Kate Orff (2016), \u00ab\u00a0Urban Ecology as activism\u00a0\u00bb, in Landscape Architectural Foundation, New Landscape Declaration<\/em>, Los Angeles, Rare Bird Booksp, p. 77-79.<\/p>\n

[6]<\/sup><\/a> Clare Cooper Marcus et Carolyn Francis (1990), People Places. Design guidelines for Urban Open Space<\/em>, New York, Van Nostrand Reinhold, p. 71.<\/p>\n

[7]<\/a> William H. Whyte (1980), The Social Life of Small Urban Spaces<\/em>, Washington, The Conservation Foundation, 125 p.<\/p>\n

[8]<\/a> Clare Cooper Marcus et Carolyn Francis (1990), People Places. Design Guidelines for Urban Open Space<\/em>, New York, Van Nostrand Reinhold, 295 p.<\/p>\n

[9]<\/a> Alan Tate et Marcella Eaton (2015), Great City Parks<\/em>, New York, Routledge, 332 p.<\/p>\n

[10]<\/sup><\/a> Halil \u00d6zg\u00fcner (2011), \u201cCultural Differences in Attitudes towards Urban Parks and Green Spaces\u201d, Landscape<\/em> Research<\/em>, Vol. 36, no-5, p. 599-620.<\/p>\n

[11]<\/sup><\/a> Galen Cranz (1982), The Politics of Public Parks. A History of Urban Parks in America<\/em>, Cambridge, The MIT Press, 347 p.<\/p>\n

[12]<\/sup><\/a> John Beardsley (2007), \u00ab\u00a0Conflict and Erosion\u00a0: The Contemporary Public Life of Large Parks\u00a0\u00bb in Julia Czerniak et James Corner, Large Parks<\/em>, New York, Princeton Architectural Press, p. 199-213.<\/p>\n

[13]<\/a> Jean-Marc Besse (200), \u201cLe paysage et les discours contemporains: Prol\u00e9gom\u00e8nes\u201d in J.-B. Brisson (dir.), Le jardinier, l\u2019artiste et l\u2019ing\u00e9nieur<\/em>, Paris, Les \u00c9ditions de l\u2019Imprimeur, p. 71-89.<\/p>\n

[14]<\/a> Elizabeth Meyer, \u00ab\u00a0Uncertain Parks\u00a0: Disturbed Sites, Citizens, and Risk Society\u201d, in Czerniak et Hargreaves, op.cit<\/em>.\u00a0: 59-85.<\/p>\n

[15]<\/a> Anita Berrizbeitia, \u00ab\u00a0Re-placing Process\u00a0\u00bb in Czerniak et Hargreaves, op.cit<\/em>.\u00a0: 175-197.<\/p>\n

[16]<\/a> Gilles Cl\u00e9ment (2006), O\u00f9 est l\u2019herbe?<\/em>, Arles, Actes Sud, 159 p.<\/p>\n

[17]<\/a> Pour plus de d\u00e9tails, voir Jonathan Cha (2021), \u00ab\u00a0La r\u00e9invention du parc Jean-Drapeau\u00a0: un nouveau parc plus accessible, diversifi\u00e9, public, et vert\u00a0\u00bb\u00a0, The Nature of Cities<\/em>, 18 octobre\u00a0: https:\/\/www.thenatureofcities.com\/2021\/10\/18\/la-reinvention-du-parc-jean-drapeau-un-nouveau-parc-plus-accessible-diversifie-public-et-vert\/.<\/p>\n

[18]<\/a> Knuijt, Ophuis, van Saane et Louwerse (1995) [1993], \u00ab\u00a0Time, space and landscape\u00a0\u00bb, op.cit<\/em>.\u00a0: 83.<\/p>\n

[19]<\/a> Knuijt, Ophuis, van Saane et Louwerse (1995) [1993], \u00ab\u00a0A park est un parc is een park ist ein Park\u00a0\u00bb, op.cit<\/em> : 30.<\/p>\n

[20]<\/a> Knuijt, Ophuis, van Saane et Louwerse (1995) [1993], \u00ab\u00a0Continous change or changing continuity\u00a0\u00bb, op.cit<\/em>.\u00a0: 34.<\/p>\n

[21]<\/a> Knuijt, Ophuis, van Saane et Louwerse (1995) [1993], \u00ab\u00a0Time, space and landscape\u00a0\u00bb, op.cit.\u00a0:<\/em> 84.<\/p>\n

[22]<\/sup><\/a> Pierre Donadieu (1994), \u00ab\u00a0Pour une conservation inventive des paysages\u00a0\u00bb in Augustin Berque et al, Cinq proposition pour une th\u00e9orie du paysage<\/em>, Paris, \u00c9ditions Champ Vallon, p. 52-81.<\/p>\n

[23]<\/a> Des surfaces (0 \u00e0 2 m\u00e8tres) \u00e0 l\u2019organisation topographique et v\u00e9g\u00e9tale (2 \u00e0 8 m\u00e8tres) jusqu\u2019au massif forestier (8 \u00e0 20 m\u00e8tres) Jacques Simon (1980), Les parcs actuels<\/em>, (Ser. Am\u00e9nagement des espaces ext\u00e9rieurs, no-13). Espaces ouverts, 127 p.<\/p>\n

[24]<\/a> \u00ab\u00a0Thierry Paquot, \u00ab\u00a0Il faut inventer un m\u00e9nagement des gens, des lieux et des choses\u00a0\u00bb. Entrevue avec Thierry Paquot, Philosophie magazine<\/em>, 19 mars 2014.
\n<\/a><\/p>\n

* * *<\/h3>\n

The Conceptual Approach of the Parc Jean-Drapeau Conservation, Planning, and Development Master Plan 2020-2030<\/strong><\/h3>\n
As a heritage landscape with many years of history, it seemed fundamental to incorporate the fragmentation of Parc Jean-Drapeau rather than trying to smooth it out. The idea was to acknowledge that the park is an evolving product of several centuries, recovering lost meaning and affirming identity.<\/blockquote><\/figure>\n

Today\u2019s parks are an eclectic collection of layers of landscapes built and developed from multiple eras. For both park makers and park designers, it is appropriate to question the balance between revealing and celebrating the historicity of parks and their components and applying updated approaches to transformation to make them responsive to the needs of the 21st<\/sup> century. How can we consider the heritage they contain and represent while leaving room for the production of new contemporary forms? Is a cohabitation of functions, styles, and traces possible and desirable? How can we respond to the elements of rupture and obsolescence while ensuring a continuity of identity for the site? What forms should the parks of the future take?<\/p>\n

\"An
The celebration of the great island park through the consolidation of its shores and the heart of the islands of Sainte-H\u00e9l\u00e8ne and Notre-Dame. Photo: NIPPaysage and Parc Jean-Drapeau (2020).<\/figcaption><\/figure>\n

These questions informed the conceptual approach of the Master Plan for the Conservation, Planning, and Development of Parc Jean-Drapeau 2020-2030, produced and directed by NIPpaysage, with R\u00e9al Paul, architects, ATOMIC3, and Biodiversit\u00e9 conseil.<\/p>\n

\"A
The enhancement of spaces and ecosystems to ensure a continuum of landscape experiences. Photo: NIPPaysage and Parc Jean-Drapeau (2020).<\/figcaption><\/figure>\n

In recent decades, the public use of Jean Drapeau Park has been in crisis. A distancing and estrangement from citizens have occurred to the point of making the park a \u201clandscape of estrangement\u201d to use James Corner\u2019s concept. Corner criticized technology and capitalism for distancing us from the poetic value of landscape architecture and advocated a reconciliation of the history and meaning of place with contemporary circumstances. \u201cMany fail to even appreciate the role that landscape architecture plays in the constitution and embodiment of culture, forgetful of the designed landscape\u2019s symbolic and revelatory powers, especially with regard to collective memory, cultural orientation, and continuity. It was, therefore, necessary, through the landscape design process, to clearly position the Park\u2019s identity in order to give it physical coherence, reflect its cultural values, and reintegrate it into the practices of citizens. After identifying conservation as one of the main strategic orientations, seven planning principles were developed: positioning the Park on a metropolitan and regional scale, celebrating the Park\u2019s island character, highlighting its rich heritage, emphasizing the aquatic landscapes and their ecosystems, promoting ecosystem diversity and connectivity, ensuring a continuum of landscape experiences in the Park, and focusing on mobility experiences as a means of exploring the Park. The concept of development that directly responds to this loss of meaning and contact is: \u201cThe celebration of the great island park through the consolidation of its shores and the heart of St. Helen\u2019s and Notre Dame Islands.<\/p>\n

\"Three
The three major development actions: linking the hearts of the two islands, the riverside promenade, and the links between the shores and the hearts. Photo: NIPPaysage and Parc Jean-Drapeau (2020).<\/figcaption><\/figure>\n

The park and landscape as a landscape and social destination<\/strong><\/p>\n

In the manner of Frederick Law Olmsted’s parks, the shared desire was to make the reinvented island landscape of Jean Drapeau Park a destination in itself. Examples include Central Park, Millennium Park, and Governor’s Island, where the quality of the design was intended from the planning stage to be a major local and tourist attraction. The development plan for Parc Jean-Drapeau also aims to create emptiness, to let the Park’s design express itself in all its creativity. As Bernard Huet pointed out: “We are afraid of emptiness. Afraid of void, of an empty, beautiful space. The importance of not overloading and filling the space with temporary installations of all kinds (signs, barriers, fences, furniture, floral arrangements, platforms, etc.) as well as aiming to optimize the landscapes has been a major part of the reflections to enhance the heritage site, celebrate the legacies of landscape architecture and especially contribute to the emergence of inhabited environments. As Kate Orff wrote in The New Landscape Declaration: “Where the spaces can be reimagined as productive landscapes that are not only pastoral settings but also active generators of social life.<\/p>\n

Clare Cooper Marcus wrote that: “Two frequently cited reasons for park use are: a desire to be in a natural setting and a need for human contact”, an observation that is still valid today and that informed the entire creative process. This process was also based on the “guidelines”, “design recommendations” and “users’ needs” developed by several authors over the years, including Jan Gehl’s quality criteria for spaces frequented by pedestrians (2012), which highlighted the elements that make public spaces successful (notably Whyte, 1980, Cooper Marcus and Francis, 1990, Tate and Eaton, 2015). The thinking has been particularly concerned with meeting the needs and habits of all users and cultural communities through a commitment to diversity. Various authors have indeed studied cultural differences in attitudes, behaviors, and occupations of parks; some cultural groups prefer more meal gatherings or passive recreation, and others prefer movement and active recreation as examples.<\/p>\n

These insights from scientific research and field observations have been seriously considered to ensure social justice in park accessibility (equality, equity, inclusion). In The Politics of Parks Design, Cranz wrote that the potential of parks to shape and reflect social values is not yet fully appreciated or understood and that social control has historically limited access to the park, a statement supported by Beardsley through the notion of “erosion. This reading remains more valid and understood than ever in planning and design. The developments thus offer opportunities for encounters, social contact and closeness to nature, a complementarity between green and urban spaces, a variety of spaces, and types of open and closed landscapes that allow dynamic and static, recreational, and passive activities. Following the example of Jean-Marc Besse’s writings, the development plan considers the landscape above all as an experience, a way of being, of being practically involved in it, that is to say, of inhabiting it. The proposals aim less at contemplating than at living and feeling the landscape. The 15-km shoreline promenade, which will allow visitors to discover the landscapes along the shores of the two islands, as well as the panoramic views of the St. Lawrence River and beyond, is the first key development to reinforce the Park’s identity and make it a destination. This will allow for the rehabilitation of the Cosmos footbridge and the Expo-Express bridge, providing direct contact with the water while enhancing the ecological interest of the islands’ perimeter.<\/p>\n

\n
\"A
The consolidation of the three-layered forests allows for a variety of open and closed spaces and landscape types for dynamic and static, recreational and passive activities. Photo: NIPPaysage and Parc Jean-Drapeau (2020).<\/figcaption><\/figure>\n<\/div>\n
\"A
The creation of a meadow punctuated with artworks restores the place of nature in the heart of Mount Boull\u00e9. Photo: NIPPaysage and Parc Jean-Drapeau (2020).<\/figcaption><\/figure>\n
\"An
The reconfiguration of the riverbank, by softening its profile, allows the creation of a riverside promenade and a new relationship with the St. Lawrence River. Photo: NIPPaysage and Parc Jean-Drapeau (2019). P8 parking lot redevelopment ideation project as a waterfront green walkway. Soci\u00e9t\u00e9 du parc Jean-Drapeau.<\/figcaption><\/figure>\n
\"A
The riverside promenade and a step at Place des Nations allow for the discovery of the shoreline landscapes as well as the views of the river. Photo: NIPPaysage and Parc Jean-Drapeau (2020).<\/figcaption><\/figure>\n

A green matrix as a connectivity structure<\/strong><\/p>\n

Inspired by Elizabeth Meyer’s Bridging, Mediating, Reconciling triad, the planning strategy sought to reconnect spaces, mediate vocations, and reconcile with place. Influenced by Anita Berrizbeita’s process-based approach, the design drew on existing forms, sense of place, and accumulated histories to reveal the trajectory of the park, increase the legibility of strengths, and emerge a matrix that responds to the multiplicity, flexibility, and temporality necessary for the life of a large urban park. In addition to the visual and spatial qualities sought, there are notions of preservation, performance, connectivity, and ecological functions. Gilles Cl\u00e9ment asked the question: “Can we raise the non-development, and sometimes the disdevelopment, to the level of a project? “Without going so far as to propose a pedagogy of grass, the development plan leaves a lot of room for the protection of developed and natural landscapes and for adaptive ecological design, by planting massively and restricting access to several areas of the park. Linking the hearts of the two islands is the second key design gesture through the creation of an ecological corridor between the Mount Boull\u00e9 wetland and the riparian areas of Ile Notre-Dame via a green bridge over the Le Moyne Channel. This will ensure the connectivity of the Park’s ecosystems and enrich these biodiversity nodes, where flora and fauna are particularly abundant.<\/p>\n

\"Three
The ecological matrix: the ecological corridor between the hearts of the two islands, the improvement of the ecological interest of the islands’ perimeter and the development of links between the shores and the interior of the islands. Photo: and Parc Jean-Drapeau (2020).<\/figcaption><\/figure>\n
\"A
The vehicular axis of the Cosmos footbridge transformed into a green bridge and urban promenade.<\/figcaption><\/figure>\n
\"A
Creation of an ecological corridor between the Mont Boull\u00e9 wetland and the riparian areas of \u00cele Notre-Dame by widening the Cosmos footbridge and providing access for wildlife. Photo: NIPPaysage and Parc Jean-Drapeau (2020).<\/figcaption><\/figure>\n

A stratified inherited landscape<\/strong><\/p>\n

Bernard Huet said that a park has a continuity, a long history, while Peter Latz said that a park is never completed, but rather should be seen as a continuous process. This vision of aggregation, which emerged in the 1990s, is reflected in the approaches and projects of Adrian Geuze and Norfried Pohl, who relied on the intrinsic qualities of place as conceptual inspiration. “This is one of the reasons why it is necessary to add different layers over a period of time in order to evolve into a ‘public park of stature’; ‘because the already existing and intended qualities must be understood and not forgotten’.<\/p>\n

As a heritage landscape that has had several planning phases and layers of occupation, it seemed fundamental to take advantage of the fragmentation of Parc Jean-Drapeau rather than seeing it as an amalgam of disparate things that should be smoothed out. The idea was not to create a new great monumental gesture but to state that the park is an evolving product for several centuries. Taking into account of traces, the revelation of layers and the superposition of frames were the bases of the reflection. The objectives were to invite the public to reappropriate the park, to reinscribe it in the collective memory, and to ensure a continuity while adding a new structure and spatial organization. The development plan thus proposes a matrix to make the existing manifest and to conjugate different “associations of time”.<\/p>\n

In consideration of the Park’s heritage value and in the logic of Pierre Donadieu’s “inventive conservation”, the planning of the space has privileged both the conservation of concrete elements of the landscape and the creation of innovative forms corresponding to new or old functions of the territory. The concept of planning has focused on enriching the three-dimensionality of the landscape, what Jacques Simon called “relationships of alliances and autonomies of three distinct floors of the organization of space. It is in this context that the third key planning gesture was imagined, that of the ties between the banks and the hearts. This gesture is intimately linked to the experience of the riverside promenade as well as to that of the Park’s historic and ecological hearts. The links include a series of landscape objects (footbridges, quays, belvederes) that break down the barriers and connect the enclosed landscapes while offering a unique “multi-level” experience that reveals and exposes the Park’s identity. This series of punctuated and continuous links across the two islands offers a new look at forgotten treasures and river landscapes while creating new dialogues between once-isolated ensembles. The footbridges are inspired by the aerial structures of the Expo 67 minirail, which at the time consisted of inverted V-shaped pilings connected by a long longitudinal beam. Their materiality will dialogue with the contemporary signature of the paddock and future park buildings, contributing to the emergence of an architectural identity rooted in the history and imagination of the site.<\/p>\n

\"A
The linkages between the shoreline and the core areas allow for the decompartmentalization and connection of enclosed landscapes while providing a unique “multi-level” experience that reveals and exposes the Park’s identity. Photo: NIPPaysage and Parc Jean-Drapeau (2020).<\/figcaption><\/figure>\n
\"A
The walkways are inspired by the aerial structures of the Expo 67 minirail, at the time consisting of inverted V-shaped pilings connected by a long longitudinal beam. Photo: NIPPaysage and Parc Jean-Drapeau (2020).<\/figcaption><\/figure>\n

The creation of a “major public park”<\/strong><\/p>\n

It is true that major projects will transform the image, mobility, and experience of Jean Drapeau Park, but they will be carried out mainly on underused land and existing infrastructures that do not embody the values of the Park. We are no longer at the time of the invention of a new landscape, but at the one to take care of our territory, to read it, to rethink it, and to develop it. As Thierry Paquot expressed it so well: “We must invent a way of caring for people, places and things”. Jean Drapeau Park is not and will not be a unified and final aesthetic, but a coherent amalgam of inherited forms that will adapt to new environmental concerns and social practices. This is where innovation will reside and where the new and enhanced identity of Parc Jean-Drapeau will take shape. It is by privileging superimpositions, connections, and mediations that the re-emergence of a large urban park aspiring to become a “major public park” will take place.<\/p>\n

Jonathan Cha
\n<\/strong>Montreal<\/p>\n

On The Nature of Cities<\/a><\/p>\n

See Notes and References at the end of the French version above.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Read in English. Retrouver le sens perdu et affirmer l\u2019identit\u00e9 du parc Les parcs sont aujourd\u2019hui une collection \u00e9clectique de strates de paysages am\u00e9nag\u00e9s et construits issus de multiples \u00e9poques[1]. Autant pour ceux qui r\u00e9alisent des parcs que ceux qui les con\u00e7oivent, il est \u00e0 propos de se questionner sur la conciliation entre d\u2019une part […]<\/p>\n","protected":false},"author":1028,"featured_media":51022,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,1103,298,299],"tags":[49,25,557,23,66,88],"coauthors":[1364],"class_list":["post-51004","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essay","category-north-america","category-essay-people-and-communitites","category-essay-place-and-design","tag-communities","tag-europe","tag-landscape","tag-north-america","tag-parks","tag-planning"],"_links":{"self":[{"href":"https:\/\/www.thenatureofcities.com\/TNOC\/wp-json\/wp\/v2\/posts\/51004","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.thenatureofcities.com\/TNOC\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thenatureofcities.com\/TNOC\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thenatureofcities.com\/TNOC\/wp-json\/wp\/v2\/users\/1028"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thenatureofcities.com\/TNOC\/wp-json\/wp\/v2\/comments?post=51004"}],"version-history":[{"count":18,"href":"https:\/\/www.thenatureofcities.com\/TNOC\/wp-json\/wp\/v2\/posts\/51004\/revisions"}],"predecessor-version":[{"id":51052,"href":"https:\/\/www.thenatureofcities.com\/TNOC\/wp-json\/wp\/v2\/posts\/51004\/revisions\/51052"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thenatureofcities.com\/TNOC\/wp-json\/wp\/v2\/media\/51022"}],"wp:attachment":[{"href":"https:\/\/www.thenatureofcities.com\/TNOC\/wp-json\/wp\/v2\/media?parent=51004"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thenatureofcities.com\/TNOC\/wp-json\/wp\/v2\/categories?post=51004"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thenatureofcities.com\/TNOC\/wp-json\/wp\/v2\/tags?post=51004"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.thenatureofcities.com\/TNOC\/wp-json\/wp\/v2\/coauthors?post=51004"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}