Concrete: necessary evil or unloved heritage? Often pointed at in a negative light, concrete has nonetheless been used to shape major elements of Montreal's architectural heritage, from the Oratory dome to Habitat 67, not to mention a large portion of our infrastructure. How well do we recognize this heritage and the particular issues involved in preserving it? What avenues are open to maintain it or adapt it to the era of decarbonization and current construction needs?
On the occasion of the next City Talkon October 23, which will attempt to answer these questions, we invite you to take a look at the place of concrete in the metropolis.
The arrival of concrete in Montreal
Concrete arrived in Montreal at the end of the 19th century, as the city's economy took off. Its malleability, fireproof qualities and exceptional strength made concrete a material of choice at the time. It was for these reasons that many industries incorporated concrete into their new facilities in the early 20th century.
The Silo n° 5
When we think of Montreal's industrial heritage, Grain Elevator No. 5 immediately springs to mind. This immense complex in the Old Port is a remarkable reminder of a not-so-distant era when Montreal, thanks to its industries, was a hub of the Canadian economy. Architect and engineer John S. Metcalf (1847-1912) was responsible for the construction of "Grain Elevator B", as it was known when it was built in 1906. His firm was responsible for several similar silos in Montreal, such as Grain Elevator 2, which stood at the Bonsecours Market. Although the first part of the building was made of steel, the first silos added in 1913 to the west of Elevator B were made of concrete, and the firm John S. Metcalf Co. was responsible for them.
The name Silo No. 5 was not adopted until 1963, four years after the completion of the most imposing part of the complex, which is also the most visible from the city. Adding 115 silos to the 60 of Grain Elevator B, this immense addition, designed by engineers C. D. Howe, rises to a height of around 66 metres, stretching almost 186 metres to the east of the original construction. Silo No. 5 ceased operations in 1994, by which time its two counterparts in the Old Port had already been demolished. Although its heritage value has been recognized, Silo no. 5 has remained vacant since its closure, and suffers from a lack of maintenance.
Chimneys in the Montreal sky
Silo no. 5 isn't the only vestige of the industrial era to loom large over the city's skyline: chimneys abound, representing the city's past. While some have been demolished, others are still standing. One example is the Stelco bullet tower on Dominion Street in Little Burgundy. This tall tower, built at the dawn of the Second World War and once part of the Stelco complex, was incorporated into a condominium complex in 1988.
In 1970, the smokestacks of the Carrières waste incinerator appeared in the Rosemont-La Petite-Patrie skyline. Héritage Montréal made this complex, vacant since 1993, the subject of its 3rd ideation competition for the next generation, whose projects were recently unveiled.
Some may also remember the Miron chimneys, rising to a height of 125 metres. These huge red-and-white chimneys were part of the Miron quarry complex, in operation until 1984. The smokestacks were demolished by the city four years later, an event that attracted a great deal of media attention.
Héritage Montréal devoted a "Coup de cœur des Guides" video in 2021 to the Stelco Bullet Tower:
Concrete in residential architecture
The early 20th century was also marked by a major urbanization movement, necessitating the rapid construction of new homes. The qualities of concrete, notably its ease of installation and resistance to fire, enabled it to carve out a place for itself in residential architecture.
Joseph-Arthur-Godin building
The Godin Building, located at the intersection of Sherbrooke Street and Saint-Laurent Boulevard, was built in 1914 to plans by Joseph-Arthur Godin (1879-1949). A graduate of the École des Beaux-Arts in Paris, the architect was also the project's contractor, giving him the freedom to experiment, notably with the use of concrete with which he had become familiar in France.
Between 1914 and 1916, he built three apartment buildings in a similar style: the Godin, the Riga (now demolished) and the Saint-Jacques. These buildings immediately set new standards: they were among the first reinforced-concrete structures in Canada, and rare examples of Art Nouveau architecture in the metropolis. The Godin stands out for its prominent corner position and the rounded balusters typical of Art Nouveau.
But the architect didn't limit the use of concrete to the skeleton of the building: the entire façade was left bare! This assertive use of concrete was unusual in residential architecture at the time. This particularity gives the Godin building an undeniable heritage value, prompting Héritage Montréal and Sauvons Montréal to oppose a real estate project planning its demolition in 1987. The two organizations also called for the building to be listed at gouvernement du Québec, which was done in 1990.
In 2004, it was converted into a hotel complex, Hotel 10, and integrated into a modern addition designed by architect Dan Hanganu.
A revival of sacred architecture
Concrete isn't necessarily immediately associated with churches, which are usually wrapped in noble materials. However, it has found its way into the construction of many places of worship in the 20th century, some of them quite surprising! Indeed, concrete hides beneath the copper dome of St. Joseph's Oratory...
Saint Joseph's Oratory
St. Joseph's Oratory is a remarkable landmark in the Montreal landscape. Originally built in 1924, it did not include its iconic dome. This was added in 1937 to plans drawn up by monk Dom Paul Bellot and architect Lucien Parent. The 120-foot structure was built using concrete, which was continuously sprayed for 9 days! Engineers at the time were delighted to have completed the 16-sided polygon structure in such a short time. Today, if the use of concrete is not apparent, it's because in 1941, the dome was covered with copper sheeting, as were the roofs of the four turrets and the nave, transepts and aisles.
The engineers responsible were Henri Labrecque, Gustave Papineau and Maxime Cailloux. As their plans indicate, the dome is made up of "two thin concrete veils, two ovoid shells entirely independent of each other".
The Byzantine-style church of St. Michael the Archangel, designed in 1915 by Aristide Beaugrand-Champagne, also features a concrete dome. Its immense dome is made of a very thin concrete veil (less than 200 mm), making it a remarkable construction for its time!
Sainte-Germaine-Cousin church
From the mid-20th century onwards, modernism led to a revival of sacred architecture in Quebec, and concrete was at the heart of this movement. No longer limited primarily to its structural qualities, it was increasingly appreciated for its aesthetic qualities, a visual marker of modernity. Architects are embracing it and using it to design places of worship with astonishing silhouettes.
The Sainte-Germaine-Cousin church bears witness to this turning point. Located on Notre-Dame Street in Pointe-aux-Trembles, it was designed by architect Gérard Notebaert and built between 1960 and 1961. With its resolutely modern architecture, its white concrete pyramidal vault is the only one of its kind in Montreal! Large vertical sections, starting from the center of the vault and following the edges, form a cross with generous fenestration at the ends.
Declining attendance and the high cost of asbestos removal work eventually got the better of the church, which closed its doors in 2005. Destined for demolition, it was eventually saved by local organizations, who promoted its original architecture. Rayside Labossière, in collaboration with the organization Bâtir son quartier and the social economy enterprise Corporation Mainbourg, carried out the requalification. The new space was inaugurated in 2015. The former church is now home to the CPE La flûte enchantée and a multi-purpose hall, and a seniors' residence has been built behind it.
Architect Roger D'Astous also gave us several modern churches featuring concrete, including Saint-Jean-Vianney, Saint-René-Goupil and Saint-Maurice-de-Duvernay.
Concrete for major modern projects
Concrete and modern heritage are often associated. In Montreal, the DOCOMOMO Québec group has published a remarkable urban map on the subject in the London-based Blue Crow Media collection. In their introduction, authors France Vanlaethem and Raphaël Thibodeau point out that, from the 1960s onwards, "in the specialized press, Montreal was recognized as the city on the continent that, more than any other, produced spectacular concrete structures. This reputation was based on achievements such as Habitat 67, Place Bonaventure and the Tour de la Bourse.Here are a few examples of modern Montreal projects in which concrete plays a central role.
Major events under Jean Drapeau
Expo 67
At Expo 67, concrete was in the spotlight. At the time, Montreal was modernizing and construction was multiplying. It was therefore only natural that concrete should have a place at this event, which put Montreal at the forefront of the international scene. Several pavilions were built in concrete, including the Quebec pavilion, which is still in existence today, although it has been modified. The United States pavilion (now the Biosphère), the Expo 67 Art Museum, the Labyrinth, the Kaleidoscope and, of course, Habitat 67 were also among the many pavilions built in concrete.
Covering the entirety of Île Sainte-Hélène, Île Notre-Dame and Île Ronde, which had been created or enlarged for the occasion, the Expo 67 site hosted an annual exhibition called Man and His World until 1981. The site was renamed Parc Jean-Drapeau in 1999. For the Montreal Olympic Games, Île Notre-Dame was redesigned to accommodate the rowing and canoeing events.
Built for Expo and named "Île-Sainte-Hélène" at the time, Jean-Drapeau station is another example of concrete in action. The station's walls are made of fluted concrete. They are also adorned with painted concrete works of art by the station's architect, Jean Dumontier, recalling the theme of Expo 67. The station's exterior is also made of textured concrete.
Habitat 67 comprises 354 modules and 158 apartments. The complex was intended as an alternative housing concept to post-war American suburbia. Designed by architect Moshe Safdie, it was built between 1965 and 1970. The project makes innovative use of prefabricated reinforced concrete modules. The last witness to Expo 67, this architectural monument has won international acclaim for its avant-garde design. On April 18, 2002, Héritage Montréal submits a request for Habitat 67 to ministère de la Culture and Communications to ensure the site's recognition and influence. On October 9, 2008, the Minister of Culture, Christine Saint-Pierre, formally announced her intention to classify this Montreal landmark. Habitat 67, including Moshe Safdie's apartment, was classified as a historic monument on February 26, 2009. Our team dedicated an InspirAction to the project! Click here to read it:
Olympic Park
Built to host the 1976 Summer Games, the Olympic Park is a unique architectural ensemble. Stretching over 60 hectares along Sherbrooke Street, it offers an iconic visual landmark, thanks to the Stadium.
Roger Taillibert was selected to design the Olympic facilities. The French architect won over Mayor Jean Drapeau with his low-cost design for the Parc des Princes in Paris, using precast concrete. Taillibert drew up the plans for the Olympic Stadium and Velodrome, while Roger D'Astous and Luc Durand designed the Olympic Village.
The sports complex is a highly coherent whole, thanks to its curved, organic lines. These are made possible by the plastic qualities of concrete, which is used throughout. The stadium alone required 400,000 cubic metres of concrete. Its 175-metre mast is the highest inclined structure in the world! As for the velodrome, it's the roof that's remarkable: a concrete lacework with openwork skylights and a curve reminiscent of a bicycle helmet. At the time, it was also one of the largest concrete arches ever built.
For the Olympic Village, Roger D'Astous and Luc Durand designed two 19-storey pyramidal towers, entirely in concrete, to match the rest of the Park. They stand out, however, for their terraced architecture and brutalist style, far removed from the roundness of the sports buildings.
After the Games, Ville de Montréal set about redeveloping the Olympic Park. In 1979, the pyramids were converted into apartments, which were soon rented out. In 1992, the Biodôme was inaugurated in the former velodrome building. In 2007 and 2008, the Planetarium, designed by Cardin Ramirez Julien and Ædifica, and Saputo Stadium, by Zinno Zappitelli Architects, were added to the site.
Subway stations
Inaugurated in 1966 with 26 stations, the Montreal metro network was gradually upgraded from 1976 onwards. The stations built in the 1970s and 1980s, mainly on the green line, feature the massive use of exposed concrete. The structural and economic qualities of this material enabled architects to create monumental volumes and interesting shapes.
LaSalle station, designed in 1978 by architects Gillon and Larouche, is a good example. The station's unique silhouette houses a huge volume with sloping ceilings reminiscent of the district's old factories. At Radisson station, designed by PGL in 1976, the colossal, streamlined interior is almost reminiscent of a spaceship.
To counterbalance the dark, dreary effect that bare concrete can have, efforts were made to use dynamic colors and shapes, and to integrate works of art into stations from this period. The Préfontaine station, designed by architect Henri Brillon in 1976, is an excellent example. Featuring a glazed accordion roof embellished with bright yellow metal beams, the main kiosk and its platforms benefit from abundant natural light. Shades of yellow and orange also decorate the station's interior, warming the high, textured concrete walls.
Far from being merely functional, concrete is also used in the design of a dozen works of art throughout the network. Bas-reliefs and abstract murals, some of them very colorful, adorn the walls of several metro stations. In 1980, Michel Dernuet created an immense abstract tree entirely in concrete for Georges-Vanier station. Artist Jordi Bonnet even designed a figurative work in concrete and aluminium, which can be seen on the mezzanine of Pie-IX station. All the network's works of art are listed on the STM website.
Charles Daudelin's Agora
The construction of the Ville-Marie expressway in 1972, with its tunnel running under Square Viger, led to the gradual abandonment of this noisy and uninviting public park. To revitalize the space, it was decided in 1976 to divide the square into three blocks, each to be designed by a different artist. One of these was entrusted to sculptor and painter Charles Daudelin (1920-2001).
In 1984, Daudelin inaugurated his Agora, a monumental installation consisting of some twenty rough-cast concrete pergolas covering a paved promenade. The central element is an imposing kinetic fountain-sculpture called Mastodo, whose basin tilts at regular intervals when filled with water.
Originally, the pergolas were also covered with vegetation and surrounded by pools and water curtains. In the artist's vision, kiosks and cafés were installed to create a lively public square.
In 2015, Mayor Denis Coderre announced that the work, which had fallen into disuse and was the subject of controversy, would be demolished as part of a new redevelopment of Viger Square. But protests from the arts community and the Daudelin family overruled this plan, and the Coderre administration opted instead to preserve a dozen pergolas and restore Mastodo . The refurbishment of the square concluded last summer with the reinstallation of the fountain.
If you're interested in the theme of concrete in Montreal, don't hesitate to take part in the City Talk on October 23!
Writing: Eléonore Leroux, Kathleen Villeneuve and Véronika Brandl-Mouton. Editing: Dinu Bumbaru and Maude Bouchard-Dupont. Editing: Kathleen Villeneuve and Anthony Plagnes Paya. Cover photo: Le Rigaud - SHDM's Autonomie+ building, built in 1976. Photo: Héritage Montréal.
