Restoration of the Erskine and American Church
Built in the late nineteenth century in the massive neo-Roman style of the Trinity Church in Boston, the Erskine and American Church is an important patrimonial landmark, not only for its architecture but also for its history and its contribution to Montreal’s urban landscape. Evidence of the rise to power of the city’s Scottish Protestant élite and an era when the “Golden Square Mile” was home to 70% of Canadian wealth, this building, made of limestone with insertions of Miramichi sandstone, has an original textured façade and a Byzantine-style dome testifying to the city’s architectural richness. In addition, the 20 Tiffany stained-glass windows gracing the lateral façades form the largest collection of its type in Canada.

Respecting the recommendations made by Jean-Claude Marsan (member of the Historic Sites and Monuments Board of Canada and director of the conservation of the built environment program at the School of Architecture of the Université de Montréal), the architects of Provencher Roy + Associés Architectes meticulously restored the church’s envelope. Some parts that were too badly damaged were completely resculpted. The 146 stained-glass windows (including the 20 Tiffany windows) were removed, restored, and reinstalled behind glass panels that make the building watertight. Inside, the plaster ceiling and the mouldings were completely restored, as were the woodwork pieces adorning the nave.

Architectural dialogues
With its restraint and permeability, the new Claire and Marc Bourgie Pavilion of Quebec and Canadian Art establishes a natural dialogue with the city. From every level, the glazed openings offer a view of the city and, at the building’s foot, the museum’s sculpture garden, a linear exhibition of works of public art bordering the museum. In addition, the glassed-in atrium at the top of the pavilion offers a strong visual link with Mount Royal, an emblematic element of Montreal’s identity.

Another dialogue is established with the church. The new pavilion shares more than its entrance and reception areas with the former religious building. It also evokes its spirit both by its elevation, extended by an opening to the sky, and by the presence of subtly designed alcoves around the galleries.

To complete the integration of pavilion with its surroundings, the architects linked it to the museum’s other pavilions, both physically and metaphorically. First, the basement entrance is connected to the museum’s underground network through a corridor underneath Sherbrooke Street and connects to the Jean-Noël Desmarais Pavilion. This 45-metre passageway becomes a space for introduction to the new pavilion as it contains monumental works by Quebec artists, such as Riopelle’s Ice Canoe. Aside from this physical link, the Bourgie Pavilion is symbolically integrated with the museum complex through a reinterpretation of the white marble used for the façades of the 1912 Michal and Renata Hornstein Pavilion and the 1991 Jean-Noël Desmarais Pavilion. The architects clad the new pavilion with a wall of marble from the same Vermont quarry as that of its two predecessors, reproducing the image of the material in its original state, with the design of veins running along the façade. “We wanted to give the feeling that the galleries had been sculpted from a gigantic four-storey-high block of marble,” recalls Matthieu Geoffrion, project manager for the Bourgie Pavilion.

Architecture at the service of the arts
As Claude Provencher notes, “A successful museum is a space that invites visitors to a sensory experience that can transport them to an unexplored universe.” The architects therefore decided to create a crescendo of experiences from the basement to the fourth floor of the new pavilion. To start this experiential ascent, the designers excavated under the church’s floor to create an entrance for the pavilion and service areas (ticket office, coatroom, restrooms, and so on). Behind, five levels offer a chronological scenario, from the colonial era and the galleries for nineteenth-century art to the period of the Refus global and its heritage, as well as Inuit art. As visitors travel through time and rise physically in the building, the natural light becomes more intense, reaching a climax with the panoramic glassed-in atrium on the top floor.

The central stairway, providing a link between the chiaroscuro of the basement and illumination at the top of the building, allows for this crescendo of light (despite the moderated lighting that is required in most of the galleries for conservation of the artworks) with progressively larger and larger visual openings to the exterior. On the third level, a bay window gives onto an outdoor terrace that features the new work by Dominique Blain. Aside from its emphasis on light, the glassed-in atrium on the top floor has a figurative value. Its shape, evoking an ice structure inspired by an igloo, establishes a symbolic link with the Inuit works that are on display below.

Record attendance OR Number of visitors rises
Attesting to the loyalty of a constantly expanding public, the number of visitors to the “reinvented museum” has reached historically unprecedented peaks, with growth of 36% in one year. This spectacular rise makes the museum the most visited in Quebec and the second-most visited in Canada, after Toronto’s Royal Ontario Museum.

About Provencher Roy + Associés Architectes
Provencher Roy + Associés Architectes is one of the largest architecture firms in Canada, with business units in architecture, architectural programming, urban planning, sustainable development, and interior design. The Montreal firm’s field of expertise thus extends beyond architecture, as the professor and former director of the School of Architecture of the Université de Montréal, Georges Adamczyk, writes, “from simple service to the search for innovation, from an overall urban plan to the detailed design of a building, from the restoration of buildings to the invention of new typologies, from partnership projects to auteur architecture, from interventions in the immediate surroundings to multinational projects.”

International experience
Since 1983, the firm has been involved in more than 30 international mandates, including architecture projects, city plans, competitions, and feasibility studies. These projects were developed for China, India, the Arab Emirates, Morocco, Senegal, and Haiti.

With a concern for respecting the needs of its clients, users, and the public, the Montreal firm has always been committed to hands-on architecture. An emphasis on the urban, social, and cultural context of its projects has led it to design projects that tactfully combine the old and the new, with sensitivity to heritage and contemporary inspiration, as exemplified by the expansion of the Ritz-Carlton Montreal and the conversion of the Erskine and American Church into the new Canadian art pavilion of the Montreal Museum of Fine Arts.

DATA SHEET

NAME OF THE PROJECT
Claire and Marc Bourgie Pavilion of Quebec
and Canadian Art

LOCATION
Montreal Museum of Fine Arts
Montreal, Quebec, Canada

CLIENT
Montreal Museum of Fine Arts

ARCHITECTS
Provencher Roy + Associés Architectes |

PROJECT LEADER
Claude Provencher, Architect, Senior Partner and Co-founder

DESIGN TEAM
Claude Provencher , Architect, Senior Partner and Co-founder
Matthieu Geoffrion, Architect, Partner
Eugenio Carelli, Architect, Partner
Jean-Luc Rémy, Architect
Denis Gamache, 3D Designer

COLLABORATORS
PROJECT MANAGEMENT : Gesvel inc.
GENERAL CONTRACTOR / CONSTRUCTION MANAGEMENT : Pomerleau inc.
RESTORATION OF EXISTING CHURCH MASONRY: DFS Architecture + Design
STRUCTURAL : Nicolet Chartrand Knoll ltée
ELECTROMECHANICAL : Énerpro and Le Groupe Conseil Berman inc.
TECHNICAL AND STAGE DESIGN INTEGRATION: GO multimédia
ACOUSTICS : Legault & Davidson
The Museum Sculpture Garden : Ville de Montréal

AREA
5 483 m2

IMPLEMENTATION
2011

PHOTOGRAPHERS
Tom Arban
Alexi Hobbs
Marc Cramer
Jean-Guy Lambert