Integrating art into architecture: a lesser-known part of our work

This week, the names of the five artists who will be involved in the projects for the five stations of the Montréal Blue Line extension were announced with great fanfare. Since its inauguration in 1966, the Montréal métro has stood out for the prominent place it has given to public art in each of its stations. Close collaboration between architects and artists has given rise to landmark works that today are a source of pride for the network and even contribute to its international reputation.

At Lacordaire station—on which we have been working for over two years—we will be collaborating with artist Alain Paiement. A sensitive and passionate artist, and an associate professor at the School of Visual and Media Arts, Alain’s work combines painting, photography, installation, and architecture. The first Québécois invited to the Whitney Museum of American Art in New York in 1992 for the exhibition Power of the City / City of Power, he has taught at several universities and exhibited his work around the world.

What few people know is that integrating art into architecture is an integral part of our profession. Like the STM, the government has, since 1961, implemented the so-called 1% policy. Officially titled the Policy for the Integration of the Arts into the Architecture and Environment of Government and Public Buildings and Sites, it allocates a portion of the construction or expansion budget (1%) of a public building or site to the creation of one or more artworks specifically designed for these locations.

The architect’s involvement is essential to the successful integration of the artwork. Developing the program, defining the space reserved for the work, participating on the jury responsible for selecting the artist and/or the artwork, and coordinating technical aspects are just some of the responsibilities involved in this integration process.

In the case of Lacordaire station, and in accordance with the STM’s vision, this collaboration is even closer—and the work has already begun. Alain has expressed his enthusiasm for the station, which naturally makes our work easier:

“I love this building—for its elegance and, above all, for the uniqueness of the setting: a glass wall visible from both sides, crossed by daylight from morning to late afternoon. It will be majestic. I am fully immersed in the creative process right now. I am seeking an effect of depth of field using gradients, variations in opacity and colour. The image may evoke neural networks, a complex cartographic structure, or improbable constellations within a cluster of countless stars.”

As the central element around which the station will unfold—from the entrance pavilion to the platforms—the result promises to be spectacular. We hope that this inspiring work will meet the STM’s high expectations and become, from its inauguration, an integral part of the rich artistic heritage of Montréal’s métro network. Above all, our greatest wish is that it will brighten daily life and bring a smile to the thousands of people who will pass through it every day.