Friday, April 29, 2011

Modern Matters: the Parking Meter vs. the Human

I've been in Brazil's Bahia region for the past week or so now, and in addition to enjoying the beaches and indulging in caipirinhas I think I've come closer to understanding what 'Modernity' stands for - very roughly it goes something like this:

Here, in Bahia's regional capital Salvador, in dense areas a man will always rush to you as you are in the process of parking or while you are attempting to find a spot. As you park he will help (with hand gestures "a little to the left, the right, back, stop") and while you are away he will 'watch' your vehicle. But really nothing is required or set as to what his functions exactly entail. Sometimes you'll find him sitting next to your car, other times napping, chatting with friends or even washing your car after a rain. In exchange for this service he will ask for change. He can ask for 10 and you can easily bargain to 2.

In Montreal in dense areas when you park you are required to pay with your credit card a parking meter with a fix hourly price set by the city (an abstract concept embodied by elected humans that are hopefully clean). The parking meter does nothing that comes close to watching your car and you can't ease the pain of paying through bargaining with it, you can just grumble to yourself as you are paying a machine. But the rate is fixed and the money goes to the community's greater good.

Both are means of making money by taking ownership of the conveted public space. And both have questionable legitimacy and different pros and cons. In Brazil it's an annoying human that gives directions, a chance to practice your Portuguese and a smile, and in Canada it's a horribly annoying machine that hopefully feeds a fair bureaucracy that than feeds a human in need...

Salvador de Bahia, Brazil

Thursday, April 14, 2011

With The Elections Around the Corner...

Jean-Louis Cohen: L'Architecture durant la deuxième guerre mondiale

Je suis allée au Centre Canadien d'Architecture écouter Jean-Louis Cohen parler des changements que l'effort et les effets de la deuxième guerre mondial ont eu sur l'évolution de l'architecture. Période oubliée des livres alors qu'il y regorge les innovations matérielles, politiques et esthétiques, caractéristiques des villes, usines, quartiers et bâtiments imaginés et construits durant le reste du siècle.

Cohen tisse des liens entre, entre autres, le plan formaliste des années 30 et le plan des baraques d'Auschwitz, les débats politiques qui se cachent derrière l'implantation du bunker individuel versus collectif en Grand-Bretagne (campagne commencée dès 1924!), le rôle des professionnels d'Hollywood dans la reproduction méticuleuse des villages allemands et des préfabriqués japonais dans le cadre de test pour l'amélioration dévastatrice des bombes alliés et le développement remarquable du faux, du préfabriqué, de l'artificiel et du camouflage pour tromper l'adversaire du ciel.

Enfin toujours avec autant de justesse Cohen soulève le rôle de la responsabilité et de l'éthique: si tout a du être dessiné durant les années crescendo de la guerre - des plans d'usines pour les camps de concentration à ceux fabriquants des bombes à Los Angeles - qui était là pour les faire? Il y avait de tout, évidemment, de la lâcheté attendue, de la cruauté pure, de la naïveté facile, de l'instinct de survie...

Une conférance remarquable! (La conférance accompagne l'expo Architecture en Uniforme qui a pour commissaire Jean-Louis Cohen)


Images: La Bête est Morte bande dessinée par Calvo publiée chez Gallimard et une équipe de camoufleurs au travail à Fort Belvoir, Virginie, illustration dans Robert P. Breckenridge, Modern Camouflage: The New Science of Protective Concealmen, 1942 (prise du site du CCA).

Thursday, April 7, 2011

Wedding Photos

It's Spring, and after Spring comes Summer and all the weddings both seasons imply. To celebrate the beginning of this festive season here are some of the photographs from the McCord Museum's collection on the topic. 

The first image from 1925 is particularly striking: the Church representative is prominent and the bride and groom are native. Compare his shoes to her shoes, the priest's face to the groom's face and to the bride's posture. Seems like the image encompasses the complexities of colonial rule in a nutshell. 

The rest of the images are more flamboyant. The 1930s wedding party on St. Urbain Street is terrific (again notice the bottines of the little boy of the right side of the frame - that very same model is doing a real fashion come back in that same area today). The 1895 bridal party looks like a mash-up of Tommy Hilfiger's happy family meets Grace Coddington's version of a funeral. Finally Miss Ryan's wedding photograph is adorable because of the size of everything: the girls' dresses, the girls' hair (it was after all les années folles - flap girls) and the size of the four protagonists relative to each other.

Vive les mariés!

Wedding, English River, ON, about 1925
Wedding party on St. Martin's Church steps, 730 St. Urbain Street, Montreal, QC, about 1930
Mrs J.E. St. Binney's bridal party and guests, Halifax, NS, about 1895
Miss Ryan's wedding, Montreal, QC, 1921