The conversion of disused religious temples through cultural programs constitutes one of the most compelling adaptive reuse strategies in contemporary urban planning. This functional compatibility seems to be rooted in the specific characteristics of churches: their central naves offer large-scale, clear floor plans and monumental cross-sections that easily accommodate the volumetric requirements of museums, theaters, or community hubs. Furthermore, the acoustic properties inherent to their vaulted ceilings, combined with intentional natural lighting filtered through stained glass windows or domes, create the spatial conditions for activities ranging from the performing arts to the exhibition of cultural artifacts. By assuming a public and cultural role, these buildings not only avoid demolition or physical abandonment but also preserve their status as urban and identity landmarks within the city fabric, revitalizing their immediate surroundings without altering their historical significance.

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The history of the Olympic Games, while marked by athletic achievement, is consistently contrasted by infrastructure challenges. Across host cities, from Athens to Rio and Beijing, similar issues arise: significant cost overruns and the complex issue of legacy. The big question is: What is the best viable long-term use for purpose-built sport venues? Montreal's 1976 Games shared this fate after building an Olympic Park that faced heavy criticism for cost overruns and debt from specialized construction. Post-Games, venues like the Montreal Velodrome risked becoming a financial burden. However, the city demonstrated a proactive response by proposing the transformation of the building into a thriving civic asset that now stands as an internationally recognized example of successful Olympic venue repurposing.

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Few cities combine architecture and culture like Montréal. Canada’s second largest metropolis, the City of Saints has become a leading center for design, technology, and international events. With close ties to its natural context, the island city was named after the triple-peaked hill located at its heart, Mount Royal. Today, contemporary designs continue to emerge, new structures that are transforming the cityscape and its urban fabric.

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Encompassing a Buckminster Fuller–designed geodesic dome and an Alexander Calder sculpture, the intervention shows how the city is rethinking its world’s fair treasures.

The contemporary urban fabric of Montreal, perhaps more than any other Canadian city, was shaped by a single event in its modern history: the 1967 International and Universal Exposition, popularly known as Expo 67. With its record-breaking number of visitors, it was the most successful world’s fair of the 20th century and fueled a construction boom in the city that stretched into the late 1970s.

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Gilles Saucier, FIRAC, and André Perrotte, FIRAC, founding partners of Saucier + Perrotte Architectes, have been awarded the 2018 RAIC Gold Medal, the highest honor bestowed by the Royal Architectural Institute of Canada to an individual or team of individuals in recognition of “a significant and lasting contribution to Canadian architecture.”

Founded in Montreal in 1988, Saucier + Perrotte Architectes have worked at the highest levels over their 30 year career, completing a range of project types both within Canada and internationally. The firm was lauded by the jury for pushing boundaries of innovation while maintaining a sense of elegance and refinement.

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The winners of the 2014 Canadian Urban Design Awards, a biennial competition recognizing projects that contribute to the vitality and sustainability of Canadian cities, were recently announced by the Royal Institute of Canada (RAIC), Canadian Institute of Planners, and Canadian Society of Landscape Architects. Eight individuals, organizations, and firms - including Perkins + Will for a masterplan in Edmonton - were recognized for their urban design efforts in categories such as Community Initiatives and Civic Design. For information and images on the winning entries, read on after the break.

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