2019 - Page 5 of 5 - EXCLUSIVE LUXURY - Real Estate | Design

Claude Marcotte, Executive Vice-President & Partner at Carbonleo

For 30 years now, Claude Marcotte has worked in large consulting engineering and architecture companies. In his busy career, he has participated in the planning of theGriffintown neighbourhood and in the implementation of the Tour des Canadiens and the Bois-Franc project, among others. He is now a Partner at Carbonleo, a prominent Quebec property development and management company, and has been involved in several flagship projects in metropolitan Montreal, including theQuartier DIX30TM, the Four Seasons Montreal and RoyalmountTM. This passionate urban planner shares his vision for Montreal with us on the occasion of the city’s 375th birthday.

Why do you so strongly believe in the future of Montreal?

Montreal embodies the millennial spirit. It’s a young, connected, vibrant city that is experiencing an unprecedented real estate boom. Millennials like experiences. With its hip, European character, its bilingual culture and its calendar of international events, Montreal has become their city of choice.

Is it difficult to manage large projects in Montreal?

The situation has changed a lot in the last few years. Public administrations, whether at the Ville de Montréal, the Ville de Mont-Royal, or the Quebec government, are much more interested carrying out flagship projects in the metropolitan area and are showing a spirit of collaboration.

Tell us about your Four Seasons Montreal project.

We’ve been working on this prestigious project for a few years. We have entered into a partnership with Four Seasons that will allow us to create a luxury ecosystem in the heart of downtown Montreal. In addition to hotel rooms and residences, this exceptional project will include a huge ballroom, a restaurant, a unique lounge and speakeasy, as well as high-end commercial spaces. Visitors and residents will also have direct access to the Ogilvy/Holt Renfrew store.

Do we have the expertise in Montreal to carry out this kind of spectacular project?

Absolutely. We’re working with local firms like Lemay and Sid Lee for architecture, BPA and Elmea for engineering, Philip Hazan for interior design and Zebulon Perron for the restaurant and the lounges. We are doing business with external firms and are maintaining close collaboration with local companies to keep expertise in Montreal. That’s the case with the Parisian architecture agency Gilles & Boissier, which is very involved in the interior design of the Four Seasons Montreal. For the Royalmount project, we have hired the London architecture company Benoy. Once again, we have fostered a constructive partnership between Benoy, Lemay and Sid Lee to create a smart and inspiring design.

You mention the Royalmount project. We heard a lot about it some time ago, but you seem to be more reserved now. What’s going on with it?

We’re working very hard on the project, which will become a model cultural and commercial hub. It will offer many experiences and services in one location. We’ll disclose more information on the project next fall.

Why have you chosen that location to conduct such a large-scale project?

Royalmount will be located at the heart of the island of Montreal, at the intersection of the two busiest highways: Highway 15, which connects the north and south shores, and Highway 40, which connects the east and west of the province. It will also be linked to the De la Savane subway station by a pedestrian walkway.

How are you going to connect with the new generations and adjust to the constant changes in retail trade?

Consumers’ expectations fluctuate, just like the industry. Immersive experiences will soon become the only way to appeal to new generations. Royalmount will be a unique entertainment and gastronomy destination. It will have a diversified commercial offer that will be joined by hotels and offices. Furthermore, for its construction, we’re paying special attention to sustainable and responsible development initiatives. Montreal is celebrating its 375th birthday.

In your opinion, does the construction of the Four Seasons Montreal contribute to our city’s international reputation?

Yes, absolutely. Four Seasons is a brand that’s very present in all large cities around the world: in London, Paris, New York, Toronto, and now Montreal. Our city has changed a lot in the last few years and the Four Seasons will improve its offering in terms of luxury hotels.

What is your greatest achievement?

I would say all my projects as a whole, but in a 30-year career, a project as complex as that of the Four Seasons, which includes private residences, a luxury hotel, boutiques, an entertainment space and direct access to Ogilvy, has to be among the top. The building is also magnificent.

Are those exactly the types of complex projects that drive you?

Yes, because there is complexity as much on the architectural level as on the conceptual and construction levels. Once the Four Seasons Montreal opens its doors in December 2018, I will be very involved in the management of the hotel and its operations, which will be another great challenge. At Carbonleo, we’re a small team, but we manage ambitious projects.

www.carbonleo.com

Text: Diane Stelhe

Celebrating The Miami Creative Movement

Artist and photographer Barry Fellman shines a light on Miami’s art scene with a tribute to influential Miami artists, past and present, in a brilliantly curated exhibit called The Miami Creative Movement at the Center for Visual Communication, and in his stunning companion photo book, Miami Creative: A Decade of Transformation.

The Miami Creative Movement Comes Alive

Showcasing a unique and powerful mix of the artists who led the charge and those blazing ahead into the future, The Miami Creative Movement is a formidable assortment of new works by 15 of Miami’s leading artists. The exhibit is currently at The Center for Visual Communication (CVC), a gallery in Wynwood, Miami’s creative and cultural hub. CVC Director Barry Fellman is the curator and mastermind behind the new exhibit as well as a companion piece, a new book called Miami Creative: A Decade of Transformation.

Founded in 1987, the Center for Visual Communication collaborates with governmental, educational and non-profit organizations to promote Miami-based art and artists. The CVC showcases visual art and new media in a majestic 10,000 square-foot gallery space in the Wynwood Arts District.

Fellman first curated The Miami Creative Movement for Miami Art Week in 2022. Extended for six weeks due to its popularity, the exhibit currently on display at the CVC features powerful new works of art by Mira Lehr, Carlos Betancourt, Edouard Duval-Carrié, Karen Rifas, Robert Thiele, John Bailly, Asser Saint-Val, Kathleen Staples, Paola Gracey, Jacqueline Gopie, Robert McKnight, Regina Jestrow, Gustavo Oviedo, Pablo Contrisciani and David Marsh.

Paola Gracey

With a background in science academia, Gracey incorporates scientific concepts, chemical equations and symbolic representations into her paintings. Using different techniques such as pouring, dripping, tipping and mixing, she approaches each painting like an experiment.

Paola Gracey, Spectra II, mixed media, 72 x 72 in.

Carlos Betancourt

A multidisciplinary artist, Betancourt uses art to examine memory, personal identity, nature and the environment.

Carlos Betancourt, Landscape Re-Imagined, mixed media on vinyl, 62 x 52 in.

Mira Lehr

Eco-conscious artist Mia Lehr has spent the last 50 years using art to document the wonders and ever-changing state of the natural world.

Mira Lehr, The Arrival I and II, ignited fuses, burned and dyed Japanese paper, acrylic and ink on canvas, 48 x 54 in.

Mira Lehr, Early Spring, burned and dyed Japanese paper, ignited fuses, ink on canvas, 60 x 54 in.

Gustavo Oviedo

Vivid and lively, Oviedo’s representations of worldly visions serve as a reminder of all the wonder the world contains if one chooses to explore it.

Gustavo Oviedo, Nebula Dreams, acrylic and spray paint on canvas, 36 x 48 in.

David Marsh

Marsh is consistently developing his own visual language through a rigorous process of inquiry. He is resolutely committed to abstraction, affirming its relevance as a living practice.

David Marsh, X, oil on canvas, 16 x 20 in.

Jacqueline Gopie

Challenging negative media stereotypes of people of colour by depicting idyllic scenes, Gopie’s intent is to rewire the viewer’s learned negative response to racial differences by showcasing alternative positive narratives.

Jacqueline Gopie, Freedom to Be, acrylic on canvas, 70 x 60 in.

John Bailly

With an emphasis on transatlantic dialogue, Bailly’s paintings explore how we are who we are in relation to history, place and culture.

John Bailly, Francisco and Diego, oil on canvas, 36 x 60 in.

Karen Rifas

In her nearly 40 years as an artist, Rifas has used her work and experimentation with materials and process to provide insights into the inner workings of Miami’s private and public cultural institutions.

Karen Rifas, 0807, acrylic on Arches watercolour paper, 45 x 45 in.

Robert Thiele

Robert Thiele embeds found objects from the environment into paintings that he calls wall constructions.

Robert Thiele, Second Circle (CCLXXX), wood laminated canvas, mixed media, 28 x 28 in.

Pablo Contrisciani

Contrisciani uses art to explore the universe and its unity in the infinite diversity of elements.

Pablo Contrisciani, Unadulterated Magic, mixed media on canvas, 35 x 56 in.

Asser Saint-Val

After moving to the US from Haiti, Saint-Val began to examine many facets of his uniqueness, spirituality and the realm of thought form. Imbued with a desire to understand the profound nature of his identity, Saint-Val began researching neuromelanin, the pineal gland and consciousness. He expresses his findings in his paintings.

Asser Saint-Val, ISPAKOTV NGY EWHR, I have allowed you to perform your task!, mixed media on Masonite, 48 x 48 in.

Regina Jestrow

Jestrow creates organically shaped geometric art quilts that “stem from my constant re-examination of American history and recontextualizing of textile traditions.”

Regina Jestrow, Americana Quilt 72, assorted fabrics, hand-dyed fabric, batting, thread, 60 x 95 in.

Kathleen Staples

Working with paint, wet on wet, in an expressive “go with the flow” technique, Staples uses natural forces to create rough, expressive surfaces that are an exaggerated, fantastic evocation of natural terrain, in a parallel of landscape’s own power.

Kathleen Staples, Evening Harmony, acrylic on canvas, 40 x 48 in.

Robert McKnight

McKnight’s mission as an artist “is to create works that are individual in style and content reflecting my heart and soul, stretching the poetic and artistic license in both material and content.”

Robert McKnight, Blues 1, Blues 2, Blues 3, framed and mounted Triptych, 60 x 95 in.

Edouard Duval-Carrié

An educator at heart, Duval-Carrié is a contemporary artist and curator who challenges the viewer to make meaning of dense iconography derived from Caribbean history, politics and religion. His mixed media works and installations present migrations and transformations, often human and spiritual.

Edouard Duval-Carrié, Tropical Convention, Pink, undefined.

Miami Creative: A Decade of Transformation

A companion piece to the exhibition, Miami Creative: A Decade of Transformation, is Fellman’s ode to the flourishing creativity that has turned Miami into a global artistic force. An accomplished photographer, Fellman uses imagery to chronicle a pivotal decade in Miami’s arts and culture from 2010 to 2020.

The publication’s more than two hundred vibrant photos and essays record the heart and soul of Miami’s creative community, from major museums and performance venues to popular grassroots events. It documents a decade of artistic growth in Miami, the creative community and the impact of transformational financial investments (both public and private) on the arts.

www.visual.org

Writer: Lesley Bishin

The House of Krug – Exceptional Champagnes

KRUG Champagnes have been available and very popular with Quebecers for years. We caught up with Olivier Krug, director of the House of Krug and representative of the sixth generation of the family, while he was in Montréal to find out more about the visionary brand.

Tell us the story of your house.

It’s the story of my great-grandfather Joseph Krug’s dream. He wanted to create a prestige Champagne regardless of the year, to move beyond the notion of a vintage. A Champagne that would be the fullest expression of Champagne every year. That was in 1832. At that time, it was a revolutionary idea. He made his dream a reality and we have continued to create this Champagne every year, for six generations.

You like to associate your Champagnes with pieces of music and even work with musicians. Why is music the perfect complement to your products?

Champagne speaks to your senses. You don’t need to be an expert to appreciate or explore it. Many studies have shown how music influences the taste experience. That is why our house works with musicians who come to taste our Champagnes and pair them with specific music. It really heightens the tasting experience.

Tell us about your Champagnes.

My ancestor Joseph Krug said that a good House should not create a hierarchy among its Champagnes. That is still true today. All our Champagnes are equally high quality. House of Krug is unique in that it produces only special cuvées. We have:

Two Champagnes that Joseph KRUG called No. 1 and No. 2. The first is now called KRUG Grande Cuvée (the only one we recreate each year) whereas the second is the expression of a particular year, for example KRUG 2004.
KRUG Rosé, created by my father, a nonconformist rosé, delicate and elegant, that pairs very well with many dishes.
KRUG Clos Du Mesnil and KRUG Clos d’Ambonnay, two specialized Champagnes, fruit of a single vineyard and just one grape variety (one Chardonnay, the other Pinot noir).

Most are sold at the SAQ and available in certain gourmet restaurants in Quebec.

Where are your Champagnes popular outside France and Quebec?

They are appreciated throughout Europe, of course, and also in the United States and in Japan, which has become one of our leading markets.

You are very active on social media. How has the brand evolved in recent years?

Our brand has made the shift toward digital and social media. It is very modern, vibrant, connected to the world. Since 2012, we’ve been offering something that no one else does—each bottle has a “KRUG ID.” Customers can search the number online to discover the entire history of the bottle: the date it received its cork, its blend, how our cellar master Éric Lebel created it. They will find serving tips, music pairing suggestions, and more. As for me, I have a very strong relationship with our social media audience. I like to tell stories, share important moments. Social media is a powerful tool for spreading the message of House of Krug all over the world.

www.krug.com

The National Bank Private Collection

Since 1971, National Bank has been acquiring artwork to expose nationwide in its offices, branches and subsidiaries. With over 7,000 original works, National Bank has the largest corporate art collection in Canada. Here’s an inside look, with curator Jo-Ann Kane.

Describe National Bank’s collection in a few words.

Our collection represents the history of Canadian art, from 1895 to now. It includes paintings, prints, drawings, sculptures, photographs and digital works. Without naming any names, I can say that our collection includes works from both up-and-coming and well-known artists.

What is the goal behind the collection?

First off, we want to create both a stimulating workplace for our employees and a welcoming environment for our clients. More importantly, we want to encourage local artists. Acquiring artwork is a direct way to support Quebec and Canada’s visual arts community.

What criteria do you apply to your acquisition decisions?

The artist must be recognized by his or her peers, have at least ten years of experience and have shown work in well-known galleries.

What is the acquisition process?

I propose selected works to the acquisition committee. This committee meets three or four times a year and is responsible for making final decisions.

Outside of National Bank offices and branches, where can we see works from the collection?

We do a lot of outreach with our artwork. You’ll find it displayed with descriptive texts in public places where National Bank clients can see it. We also post Instagram stories about the collection to make certain works more accessible and we regularly lend pieces from our collection to museums across Canada. It is always a pleasure to lend works out so that they reach as many people as possible.

Several works from the National Bank private collection will be shown at the Papier Contemporary Art Fair in Montréal.

Text: Diane Stehle
Photos: Patrick Bernatchez, À la recherche du jour d’après, 2012 © Christian Perreault Photographe – Ed Pien, Dream Land, 1999-2010 © Christian Perreault Photographe