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Bitwig Studio 3.1 lets you do loads of creative stuff with pitch, tuning, slicing

The latest update from Bitwig offers variations on a theme – from microtuning to lots of new features for working with pitch editing and playing live. Oh, and it’s easier to learn, too.

Bitwig Studio 3.1 is now in testing, and while there’s a ton of new stuff, it’s really pitch and tuning that stand out.

Micro-pitch lets you get away from generic Western digital piano tuning and embrace lots of other options. That includes full support for the Scala SCL standard, which has now thousands of tunings from around the world. But since that can get, uh, overwhelming fast, there are also 30+ tuning presets that cover some basics for composers, theorists, and lovers of music traditions of China, Java, and more. There are even composer-specific options based on seminal works by the likes of Wendy Carlos and Harry Partch. Nerd. On.

Tuning freaks may already be using these in plug-ins – I’ve just gotten going in VCV Rack – but I really admire the elegance of the interface Bitwig built, including a nice graphical visualization.

I really hope it’s something other software copies, actually, because all of us benefit if music software is more open to tunings. It’s otherwise like being in an ice cream shop with only vanilla. I love vanilla, but not all the time.

It’s not just about this microtuning, as equally important are some other additions:

Pitch-12 lets you assign pitch classes as modulation sources for … well, anything you can imagine. This continues the evolution of Bitwig Studio into a modular design. Rough translation: playing keys on your keyboard can now do some freaky things with sound, easily and quickly. Cool.

PluckSlope ?Slope ?, and Follower in the modular Grid give you new envelope options. And yes, Pluck is useful for physical modeling ideas.

Transpose lets you create chords and stereo effects in the modular side of Bitwig Studio even without an input.

You’ll also find some great fast draw features. Quoting:

  • Quick Draw action: holding [ALT] with the pen tool will draw multiple notes at the current beat grid interval
  • Quick Draw action: drawing defaults to a single pitch for each note (think hi-hats), but adding [SHIFT] allows various pitches to be drawn (like a step sequencer)
  • Quick Slice action: holding [ALT] with the knife tool will cut any clip/event at the beat grid interval, for as far as you drag the mouse
  • Quick Slice action: slicing snaps its initial cut position to the beat grid, but adding [SHIFT] allows an off-grid starting position
  • Slice In Place function: will slice any selected clip(s)/event(s) at the detected audio Onsets, the set Beat Markers, or at a set beat grid interval

With some practice, those look like big timesavers.

Also, if you’re behind on exploring all this new stuff, Bitwig are expanding interactive help to more devices.

There are a bunch of new scripts and lots of additional fixes and improvements. Think little details like a ‘note chase’ option that lets you hear MIDI notes when you start the transport in the middle of them. See the full release notes:

https://downloads-as.bitwig.com/beta/3.1/Release-Notes-3.1-Beta-1.html

(at least for now, that’s a testing link)

And news item:

https://www.bitwig.com/en/19/bitwig-studio-3_1.html

Video walkthrough:

The post Bitwig Studio 3.1 lets you do loads of creative stuff with pitch, tuning, slicing appeared first on CDM Create Digital Music.

16? MacBook Pro, a better MBP at 15? prices, as Apple responds to user feedback

Apple has a 16″ MacBook Pro that improves performance, adds a bigger, better display, and makes promising changes to the keyboard – without increasing price. Next question: should you upgrade?

Apple’s flagship laptops still command a price premium: standard configurations are US$2,399 and $2,799, which can be punishing for cash-strapped musicians (especially in other countries once accounting for currency and cash). Figure budgeting at least $2599 for 1TB storage, and then the $2799 standard price point bumps processor speed and graphics.

But as before, what you get in exchange for the luxe price is some luxe hardware. That’s always been especially true of the display. Even big fans of the price/performance ratio on PCs have got to concede that Apple ships some big, bright, color-accurate, gorgeous displays.

And the 16″ revision does three things:

  1. It sweetens the display deal with what might be the best laptop display on the market.
  2. It improves the performance-to-price ratio with upgraded specs for the processor, graphics, and battery. But maybe most importantly –
  3. It fixes the damned keyboard. (Or at least first impressions suggest so.)

Now with an Escape key – and while the Touch Bar is standard, improved keyboard performance means there’s not really anything in particular to gripe about, we hope.

The keyboard had held a lot of people back. The butterfly-action keyboard on past models prompted some complaints about key travel, and worse, were subject to reliability problems. I was unable to attend the press preview for the new Apple laptop, but journalists more experienced with those issues are so far impressed – Dieter Bohn for The Verge and Roman Loyala for Macworld each have their first hands-on impressions. Apple are confident enough that they’re dubbing the new keyboard Magic Keyboard, in a nod to their well-liked Magic Mouse and Magic Trackpad (all the way back to the Steve Jobs era, actually).

You still get the Touch Bar whether you want it or not. But it’s no longer at the expense of a dedicated escape button (it’s back), and the fingerprint sensor now also gets its own dedicated control. Plus even the inverted-T directional keys are back.

Having tested the old keyboard, I have to say this is the MacBook Pro I would save up for. But I think the most encouraging thing about this is it means Apple was listening to complaints from pro users.

Also encouraging – you get more ports. You’ll still need adapters for a lot of gear (or a hub), but with USB-C evolving, having four USB-C ports that also double as Thunderbolt 3 (yeah, all four of them) makes this a machine that’s easy to connect.


Computers have largely caught up with the needs of most musicians, meaning all these extra performance specs won’t matter to anyone. But producers pushing the envelope should appreciate the new machines. All images courtesy Apple.

We’ll need a full review before we can judge the on-paper specs, but so far the indications are positive.

  • Ninth-generation CPUs (6- or 8-core, depending on model) from Intel – these will be great for running things like modeled synths (hello, VCV Rack), as well as CPU-native operations for visuals and so on.
  • 100 watt-hour battery (that’s the biggest battery approved to fly in the USA), for longer battery life
  • AMD Radeon Pro 5000M GPU with 4GB VRAM, option for 8GB

This is new generation AMD stuff, made just for Apple, though that also means it’s tough to make a direct comparison. As in past models in this line, it’s middle of the road stuff. Just remember that Apple likes to choose balanced GPUs as far as heat and power draw; they’re not making gaming laptops with big fans.

The relevant factor there is, you still don’t get to take advantage of NVIDIA-specific instructions and acceleration. I guess we’ll see if Apple are able to push Adobe to finally optimize Creative Suite for the Apple GPUs. (Right now, CS uses NVIDIA CUDA optimizations, and suffers quite a bit when it comes to performance on AMD chips. Of course, Apple will be happy if you use Final Cut Pro, at least on the video side.)

You can load up to 64GB of memory, though that’s overkill for even some sample playback applications. And you can add up to 8TB SSD.

BTO options are reasonable, too. It’s US$800 for 64GB RAM (which unless you’re Hans Zimmer, you may not need anyway – 32GB is a nice choice). US$400 buys you the 2 TB SSD.

But to me, it’s really the display and slick form factor where Apple continues to reign supreme. And, wow, that new display –

  • 16?inch (diagonal) LED?backlit display with IPS technology; 3072?by?1920 native resolution at 226 pixels per inch with support for millions of colors
  • 500 nits brightness
  • Wide color P3 / True Tone
  • Refresh rates: 47.95Hz, 48.00Hz, 50.00Hz, 59.94Hz, 60.00Hz

So everything is great, and you should go buy this – well, maybe.

The Catalina factor

Now that Apple has successfully responded to MacBook Pro customer feedback, let’s see how they handle complaints from developers. Developers I talk to are still venting widespread frustration with glitches under macOS Catalina – and Catalina is installed by default. These go beyond just eliminating 32-bit code and adding expected security improvements. Many developers I’ve talked to tell me that the major changes made to the OS are producing unexpected glitches and challenges.

I wish I could be more specific – Apple, for their part, infamously emailed developers to ask them to stop being so negative in their communication. But I can say this: Apple changed a lot of security features at once, and then shipped that OS on a strict timetable. That introduces a lot of variability, because it doesn’t leave a lot of time for even Apple to respond to developer and user feedback, let alone their third-party ecosystem.

16″ is the one to watch

I think the 16″ machine is likely to be a great choice in the long run – just maybe not today. As with new OSes, patience is a virtue.

If you can keep dust away from the keys, it’s even worth considering a refurb 15″ model for significant cost savings, which is what CDM contributor and friend David Abravanel just did. (Since we don’t live on the same continent, he’s safe from me showing up every day with croissants to see if I can torture test his new baby.) The 16″ model is almost certainly better, but if you get a great deal, that’s another matter. And a new Apple launch is likely to flood the market, especially since there’s no price increase here.

The 16″ model does look like the new sweet spot for the Mac. I would just wait a little bit to get some detailed reviews of the new laptop, and to wait as Apple inevitably works on any bug fixes for this new machine generation and/or macOS Catalina. Plus third party developers are working really hard on support, meaning even a couple of months from now, you can expect a smoother Catalina switch experience than now.

By then, maybe we’ll see this keyboard rolled out on the more affordable, more mobile 13″ model, too.

And Windows laptops remain an option. With more and more music software offering essentially identical experiences across OSes to end users – even in a growing number of cases, on Linux – we’re in a competitive landscape for laptops for music and live visuals.

But that’s a good thing. And it’s great to see a new laptop from Apple that promises to be genuinely inspiring again – and what users actually want.

https://www.apple.com/macbook-pro-16/

The post 16″ MacBook Pro, a better MBP at 15″ prices, as Apple responds to user feedback appeared first on CDM Create Digital Music.

Game Boy music classic Nanoloop is coming to two dedicated mobile gadgets

Nanoloop, the ingeniously simple pocket music-making tool, is being reborn. Two new dedicated pocket hardware devices promise to do what once required Nintendo’s Game Boy.

Nanoloop began its life as a home-brewed cartridge for the Nintendo Game Boy. The software shipped in the same physical format as classic games like Legend of Zelda – on a cartridge. That allowed the title to take advantage of the distinctive chip synth in the mainstream gaming hardware.

And Nanoloop was an instant hit, helping drive the explosion of the chip music scene. While some musicians swore by Nanoloop’s leading rival, Little Sound DJ [LSDJ], and its 90s-style tracker interface, Nanoloop stood out for its distinctive graphical design. Minimal elements onscreen belied powerful editing features, and opened up music-making to artists drawn to that aesthetic and way of working.

If you really want to be a purist, you’ll continue to run Nanoloop exactly like that, on the vintage hardware. And of course, there are also mobile OS versions now available, though they lose the tactile feel that’s part of the whole draw.

But now there’s a third way – run Nanoloop on new, dedicated gadgets, not made by Nintendo. (Not that Nintendo needs to worry about the competition – the target market here are typically rabid enough fans that they already own and extensively use Nintendo Switch!)

Incredibly, there are two separate projects inbound that offer new ways of running Nanoloop. Nanoloop’s own developer is building hardware designed just for music makers to run his creation. And separately, a project to make new hardware that runs the original cartridges includes the Nanoloop synth, built-in.

I mean, I kind of want both. (Santa Claus, if you’re listening…) Here’s the scoop:

Analogue Pocket

We have fewer details on Analogue Pocket, but imagine a sleek, black remake of the original, with a high-density display in place of the original lo-fi one. It isn’t a software emulator as such – it actually plays the original Game Boy cartridges from all the different generations (Game Boy, Game Boy Color, and Game Boy Advance). Those afternoons spent around the flea market are about to get way more interesting, then.

In place of the original specs, though, you get modern features – as though you stepped into a mirror universe. So the display is 665ppi and 1600×1440. The battery is lithium-ion with USB-C charging. There’s an SD card slot.

What’s potentially interesting to music users is that the developers have a built-in version of Nanoloop. That seems to be the newer Nanoloop 2. I don’t yet have information on the Analogue Pocket’s sound engine, though, which will be crucial detail for chip enthusiasts wanting to use this as an instrument. Even Nanoloop developer Oliver Wittchow told me he’s trying to learn more about this device.

One thing we have been able to confirm – Oliver says the creators tell him the Analogue Pocket will have correct audio pin compatibility. That means the nanoloop mono cartridge – nanoloop 1 – will be compatible with the new hardware.

Meanwhile, Oliver is designing his own hardware around his app. That’s less interesting to mainstream gadget and gaming press, but even more interesting to us. And Oliver is making progress.

Nanoloop Hardware

I covered the nanoloop hardware project and its Kickstarter campaign earlier this year:

What makes it special is really its hardware matrix design, with gamepads – it’s a never-before-seen hybrid of light-up physical grid and gaming-style joy/directional-pads. Or to put it another way, it’s the love child of a Game Boy Advance and a monome, part modern gadget, part nerdy DIY contraption.

And goddamn, son, this thing sounds sweet. Check out the update from late October:

https://www.kickstarter.com/projects/734721310/nanoloop/posts/2665107

He’s dumped the dorky LEDs for a svelte, retro-futuristic set of dots on the main display – very nanoloop. The sound is exceptional, and it fits in your palm.

There’s also a post reflecting on form factor. The horizontal option seems to me a clear winner, and it’s stunning how much he’s fit in so small a space. It really for me outdoes even the tiny Teenage Engineering OP-Z in terms of economical user interface. I look forward to playing the two as a duo, though.

https://www.kickstarter.com/projects/734721310/nanoloop/posts/2628067

Don’t take my word for it, though. Follow the Kickstarter campaign and check out his sound demos, as Oliver has produced a unique instrument for lovers of tiny electronic musical things. If you’re feeling eager for this to arrive, I am, too, so we’ll keep you posted on how the work is coming.

Image at top: “Nanoloop in C” by v8media is licensed under CC BY-NC-ND 2.0

The post Game Boy music classic Nanoloop is coming to two dedicated mobile gadgets appeared first on CDM Create Digital Music.

You can learn a lot from Surgeon’s live rigs

Our friends at Resident Advisor took a peek at the techno legend’s battle-tested live rigs. And it’s not so much about gear – it says a lot about musical technique.

First, it’s simple but irresistible – Surgeon’s live rig is devastatingly effective, thanks to some economical decision making and inarguable musicianship:

  • Octatrack – six drum sounds, some backing tracks
  • LEPLOOP – FM oscillators, noise, and then sequenced sample and hold and LFO, run into the filter and delay on the Octatrack
  • Faderfox controller accesses Octatrack parameters without menu diving (the PC4 pot controller, though see also the new EC4 if you prefer encoders and display) … which also means hands-on control as the filter/delay hit the LEPLOOP
  • OTO Machines BOUM – compressor/warmer

Laboratorio Elettronico Popolare’s LEPLOOP is the unexpected star of this one – a unique sequencer – synth – drum machine. Surgeon does say that devices tend to come and go, but I’m glad RA caught him with the LEPLOOP in the mix – it’s really adding a lot of dynamism to his sets at the moment. (Well, and it’s nice when the lesser-known gear gets some love!)

It’s also interesting that he uses the BOUM as a kind of glue to keep things from jumping out in the mix.

“It does make you want to … jump around.” Hell, yes.

He also takes a look at the “abstract” live set. Actually, I think this is more idiosyncratic – meaning it’s harder to learn from how he works. So, sure, the inexpensive SH-01A from Roland makes loads of sense – it’s a melodic favorite of mine, and I think a more versatile instrument than the all-about-acid 303s everyone has talked about lately. (I’m sticking with its Juno sibling, myself, but the SH-01A is my other favorite Boutique.) And the LYRA-8 is simply dreamy – it’s the creation of the wonderful SOMA, who I’ve profiled.

Maybe the most telling part of this is the Electro-Harmonix looper, the 45000. Just as the techno set is all about controlled modulation, the spice of the LEPLOOP atop the foundation of the Octatrack, here the composition focuses on the looper’s structure. That allows spontaneous layering of new material, with the regular patterns from the Roland and Lyra building up a skeleton.

There’s a full feature interview on RA, and well worth a read – it’s a must if you’re a Surgeon fan, but full of sage advice even if your own music lies in another idiom.

The Art Of Production: Surgeon

The whole series from RA has been great, but I’d wager this one may be the most useful to other artists – and of course, I’m a sucker for anyone talking about how they actually play live.

For some longer-form discussion with Surgeon, he also gave a recorded 45-minute talk at Berlin landmark SchneidersLaden:

Oh yeah, and the set? It’s a couple of years old, but here’s a nice video from Glasgow:

The post You can learn a lot from Surgeon’s live rigs appeared first on CDM Create Digital Music.

HUMAN EXTINCTION PARTY is all the AI-generated gore and death metal you can stream

If we’ve learned one thing about artificial intelligence, machine learning, and music generation, it’s that AI makes some damned fine death metal.

I mean, sure, part of why machine learning doesn’t really replace humans in its present form is this very phenomenon you’re hearing. If you put audio content of pre-existing music into a blender and then mathematically spew bits of it out, you’re losing all the nuance of form and compositional intent that make a lot of music genres work in the first place.

But back up – what was that bit about spewing things out of a blender?

If that part sounded like a feature, not a bug, then you sound like just the sort of person who will love AI-generated death metal. I am that sort of person, despite being about nuance and form and compositional intent, uh, most of the time. (At least I normally pretend.) And I’ve written about this before.

But now, it’s worth mentioning because HUMAN EXTINCTION PARTY ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? is amazing.

It’s a livestream of this stuff, just when the creators, Dadabots, have taken down a lot of their other streams. I realize this came out on the 25th of October, ostensibly for Halloween, which now is of course past. But I would implore Databots to keep this up, and the AI-generated text playing karaoke-style over images of meat, on through Christmas. (Honestly, this makes me feel a lot less murderous than hearing “Last Christmas.” If I seem to be getting stabby and Wham! is on, play this to calm me down and watch the butcher knife slide from my placid fingers.)

And yes, you should read their research paper:

Generating Albums with SampleRNN to Imitate Metal, Rock, and Punk Bands

More on SampleRNN:

http://deepsound.io/samplernn_first.html

I still think this will not really turn into a generative model for music, but could turn into a far more interesting way of processing your own samples than only looping them, by generating larger-scale textures out of existing material. If I’m wrong, you can flay my skin and … okay, now I’ve been listening to too much of this stream.

I’m in the midst of our AI Music Lab with MUTEK.jp, so more on this topic – and not just skin deep – soon.

Go go Databots:

http://dadabots.com/faq.php

And yes, if you really want to have an argument about authorship and this stuff, you should probably go talk to your MPC, too.

Also, Hatebeak forever. (And yeah, CDM has been going for 15 years – and if you got the Hatebeak reference, probably you’ve been reading roughly that long.)

The post HUMAN EXTINCTION PARTY is all the AI-generated gore and death metal you can stream appeared first on CDM Create Digital Music.

Behringer 303 clones revealed: $149 street

Behringer’s analog remake of the 303 is now out in the open – a $149 (street) set of red, blue, and silver synths called the TD-3.

On one hand, this might be the least exceptional of the low-cost Behringer synths, in that there are a lot of 303 remakes around already. There are boutique models, things called “Boutique” from Roland, the open-source hardware x0xb0x and its ilk (which even served as a template to open source music hardware generally), and plug-ins and software emulations galore.

On the other hand, the same thing makes the TD-3 newsworthy. It’s a synth everyone knows, and it’s now US$149 street. [Ed.: That price seems to have dropped even as this story was up, from what initially was around $200. List is $300.] Get ready for a lot more acid — that’s for sure.

So what did Behringer actually do?


For comparison – the original. By Steve Sims – Steve Sims, CC0, https://commons.wikimedia.org/w/index.php?curid=53932063

The TD-3 roughly approximates the TB-303 layout, without being slavish. And Behringer says they’ve recreated the essential analog circuits, down to the matched transistors.

It’s easier, then, to describe what’s new – apart from seeing a Behringer logo instead of a Roland one.

There’s a distortion circuit, which Behringer says is modeled on the DS-1. That presumably means a BOSS DS-1. And that’s actually the ballsy move here; Behringer has tangled with Roland before over BOSS.

The sequencer functionality borrows the 303’s interactions, but there’s more here – an arpeggiator, 250 user patterns x 7 tracks, and an intriguing ppq (parts per quarter) setting.

There’s also more I/O, bringing this more in line with a hacked/modded 303 than the original. You get USB, MIDI, and filter in / sync in / CV out / gate out, in addition to the original’s basic sync features.

Behringer are offering this in three colors, which otherwise are functionally identical – so TD-3-BU, RD, and SR are blue, red, and silver, respectively.

It’s really the price that’s the big deal, at US$199. That mainly hurts the Roland TB-03, which has a street of nearly twice that. Now, I don’t much expect anyone to dump the TB-03 – it sounds great whether it’s analog or not, it’s got a delay/reverb this lacks, and it runs on batteries. For that matter, I don’t know that people will dump any of their existing 303 emulations.

But for someone picking up the 303 who doesn’t have one, it’s going to be tough to compete with Behringer.

On the other hand, Behringer now joins a lot of low-cost, cool synths. Synthtopia compares the TD-3 with the KORG volca NuBass. I don’t know if that comparison came from Behringer, but the KORG seems like a totally different animal – different sound, different features, different workflow, and you know, a volca.

https://www.behringer.com/search/Behringer?text=TD-3

My question is – who’s going to use some strange bass sound to invent a new musical genre? It feels like we’re due.

I know, I know – “Karplus-Strong Techno” is really not a thing like acid house.

Okay – can someone make that a thing?

The post Behringer 303 clones revealed: $149 street appeared first on CDM Create Digital Music.

Appel de candidatures aux Prix de l’IRAC 2020

Extrait du communiqué de presse :

« OTTAWA, le 5 novembre 2019 — L’Institut royal d’architecture du Canada (IRAC) sollicite des candidatures pour le Prix du cabinet d’architectes de la relèvele Prix du cabinet d’architectes de l’annéele Prix du XXe siècle et le Prix de l’architecte de la relève.

L’IRAC sollicite également des candidatures pour l’attribution de sa plus haute distinction en 2020, la Médaille d’or.

La date limite de présentation des candidatures est le vendredi 24 janvier 2020 à 24 h, heure de l’Est. Grâce à la NOUVELLE plateforme en ligne pour les prix de l’IRAC, il est facile et rapide de soumettre une candidature.

Les lauréats de ces prix annuels prestigieux reçoivent une occasion exceptionnelle :

  • de célébrer leurs réalisations avec leurs équipes et leurs clients;
  • d’accéder à de nouveaux marchés;
  • d’attirer de nouveaux clients et de nouveaux talents;
  • d’obtenir une visibilité à la grandeur du Canada et ailleurs dans le monde.

Les candidats sont les seuls responsables de la présentation de leurs dossiers de candidature en temps opportun. La date et l’heure indiquées sont fermes et aucune exception ne sera accordée. »

Pour lire la suite du communiqué de presse…


Pour visiter le site internet de l’Institut royal d’architecture du Canada…

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Inscription à la charrette interuniversitaire du CCA | La ville au coin de la rue

Annonce :

« QU’AVONS-NOUS À APPRENDRE DE NOS RUELLES?

Ces espaces de service de la trame urbaine sont des lieux de plus en plus prisés pour les interventions citoyennes dynamiques. Inspirée des projets de ruelles vertes de Montréal ou d’arrière-cours de Vancouver et de Toronto, cette édition de la Charrette interuniversitaire du CCA vous met au défi d’appliquer une perspective de ruelle à un ou des espace(s) collectif(s) de votre ville.

DATES IMPORTANTES

Jeudi 31 octobre, 17h –
Jeudi, 14 novembre, 17h (HNE) :
Inscription en ligne

Jeudi 14 novembre, 18h30 (HNE) :
Lancement au CCA

Présentation des thèmes par
Vikram Bhatt, architecte et professeur, Université McGill

Théâtre Paul Desmarais, CCA
1920, rue Baile, Montréal
Retransmission en direct sur:
www.youtube.ca/CCAchannel

Lundi, 18 novembre, 10h (HNE) :
Date limite des soumissions

Vendredi, 22 novembre, 18h (HNE) :
Remise des prix à l’Université McGill

Université McGill
Peter Guo-hua Fu School of Architecture
Salle d’exposition
Macdonald-Harrington Building
815 rue Sherbrooke Ouest
Montréal, QC H3A 0C4

Contact : charrette@cca.qc.ca

La Charrette est organisée par le Centre Canadien d’Architecture et l’Université McGill, en collaboration avec l’Université de Montréal et l’Université du Québec à Montréal, et avec la participation de l’Université Laval, l’Université Concordia, Carleton University, Ryerson University, l’Université Laurentienne, University of Waterloo, et University of Toronto. »

Pour plus d’information et pour s’inscrire…


Pour visiter le site internet du Centre Canadien d’Architecture…

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Ateliers participatifs : phase 2 de la Sainte-Catherine Ouest

Annonce :

« La Ville de Montréal vous invite à deux ateliers participatifs dans le cadre de sa démarche de consultation publique concernant le réaménagement de la rue Sainte-Catherine Ouest, entre les rues Mansfield et Bishop.

** Inscription obligatoire au www.realisonsmtl.ca/saintecath

Samedi 16 novembre – 9 h 30 à 12 h 00 : Rendez-vous devant l’entrée de la Place Montréal Trust sur la rue Sainte-Catherine Ouest (entre les boutiques Indigo et Zara).
Lieu de l’atelier : Université Concordia (John Molson Building, 1450 rue Guy, Salle MB S2.401)

Mardi 19 novembre – 17 h 00 à 19 h 30 : Rendez-vous devant l’entrée de la Place Montréal Trust sur la rue Sainte-Catherine Ouest (entre les boutiques Indigo et Zara).
Lieu de l’atelier : Centre St.-Jax (salle du Sanctuaire, 1439 rue Saint-Catherine Ouest, Montréal, Québec H3G 1S6)

Ces activités se dérouleront en deux étapes :

  • 45 minutes de marche exploratoire, de la rue Mansfield jusqu’à la rue Bishop
  • 90 minutes d’atelier de travail

Venez en grand nombre! »

Pour consulter l’événement Facebook…


Pour visiter le site internet de la Ville de Montréal…

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Préavis de principes concernant les anciens bureaux de l’Office national du film du Canada (ONF)

Extrait du communiqué de presse :

« Héritage Montréal émet un deuxième préavis de principes et énonce ses priorités

PRÉSERVER L’ESPRIT DU LIEU ET LES BÂTIMENTS FONDATEURS DES ANCIENS BUREAUX DE L’OFFICE NATIONAL DU FILM DU CANADA (ONF), 3155 CÔTE-DE-LIESSE, MONTRÉAL

Montréal, le 05 novembre 2019 – Dans ce préavis, le deuxième après celui publié sur La Pointe-du-Moulin en janvier 2018, Héritage Montréal met en avant cinq orientations principales afin d’exprimer les valeurs, les enjeux et les opportunités que l’organisation entrevoit pour le site de l’ONF, à la lumière de ses préoccupations en matière de patrimoine, d’aménagement et de développement urbain:

  1. Préserver l’esprit et le génie de ce lieu habité par une grande aventure créative, à l’aide d’un programme authentiquement pertinent du point de vue de la programmation, des partenariats, des produits et des processus ;
  2. Prioriser la conservation de l’extérieur de l’ensemble relativement homogène formé par les parties fondatrices, soit les pavillons des années 1950, représentatifs du style gouvernemental moderne d’après-guerre ;
  3. La conservation et la transmission des dimensions patrimoniales immatérielles, notamment à travers la réutilisation de la voûte et du grand plateau de tournage, des salles de projection et du studio d’enregistrement, mais aussi dans les nouveaux usages et par la commémoration ;
  4. Tout en pondérant les interventions en fonction des impacts patrimoniaux, favoriser le désenclavement et le verdissement des lieux, contribuer à l’augmentation de la mixité du quartier, notamment en termes de services, équipements collectifs et commerces de proximité. Garantir un accès public ;
  5. Favoriser une stratégie pour assurer la protection par l’usage des lieux après le départ de l’ONF. »

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Cet article Préavis de principes concernant les anciens bureaux de l’Office national du film du Canada (ONF) est apparu en premier sur Kollectif.

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