The Policy for the Integration of the Arts into the Architecture and Environment of Government and Public Buildings and Sites was introduced in 1961 and will soon celebrate its 60th anniversary. As a result, many of the early artworks integrated into buildings under this program now require restoration—particularly those located outdoors.

As an example, STGM is currently collaborating on the restoration of the mural Man Confronted with Science by Jordi Bonet, created during the construction of the Adrien-Pouliot Pavilion at Université Laval in 1963.

Originally, the policy consisted of allocating approximately 1% of the construction budget of a building or the development budget of a public site to the creation of artworks specifically designed for that location. These works are intended to harmonize with the architecture, interior or exterior spaces, the function of the site, and the type of users it serves (source: Québec Ministry of Culture and Communications).

Over time, the objectives of the program have evolved to further promote the dissemination of Québec artists’ work among the population and to increase public awareness of contemporary art in all its forms.

Throughout history, art and architecture have been closely intertwined. Stone sculptures, woodwork, stained glass, and other artistic elements have long adorned premodern architectural spaces. At the beginning of the 20th century, architectural design trends became more minimalist, leading to the disappearance of integrated ornamental and artistic elements. A few decades later, the relationship between art and architecture was redefined with the creation of the Policy.

One of the program’s key objectives is to enrich citizens’ living environments through collaboration between artists and architects. In this regard, could a return to a more genuine integration of art into architecture be a meaningful path forward? Inspired by what built heritage teaches us—by revisiting the collaborative relationship that once existed between architects and artists during the design of a building—could artworks once again form a true symbiosis with architecture, fully embodying the meaning of the word “integration”?

Photo credits:

Jordi Bonet, Université Laval. Photography: Alexandre Guérin.

École Face, Détail de l'entrée principale. Bibliothèques de l'Université McGill, Collection d'architecture canadienne, Fonds John Bland.